tag:blogger.com,1999:blog-186303682024-03-14T06:28:19.435-02:00KNOWLES EDDY KNOWLESI'M NOT GOING TO CALL HIM A LIAR BEHIND HIS BACK BUT I WOULD SAY IT TO HIS FACE IF HE WAS HEREknowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.comBlogger564125tag:blogger.com,1999:blog-18630368.post-23810113790492339322020-10-01T00:21:00.003-02:002020-10-01T00:21:54.511-02:00RBG Playlist<p><span style="font-size: x-large;"><span style="font-size: small;">Please listen to the RBG playlist and suggest additions:</span> <br /></span></p><p><span style="font-size: x-large;"><a href="https://www.youtube.com/playlist?list=PL_0k4mTkijq5WNiXK5nrg4mqaFPXSWnkO" target="_blank">https://www.youtube.com/playlist?list=PL_0k4mTkijq5WNiXK5nrg4mqaFPXSWnkO <br /></a></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/playlist?list=PL_0k4mTkijq5WNiXK5nrg4mqaFPXSWnkO" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="200" data-original-width="200" height="387" src="https://1.bp.blogspot.com/-9XMoN6s2bEk/X3U8XthUBuI/AAAAAAAADnI/geiyzOtZjIESWADbuQ8zJdxGmFeR73pUwCLcBGAsYHQ/w387-h387/120314956_web_obit_graff_20180417.jpeg" width="387" /></a></div><br /> In a New York Times article, part of a Pulitzer prize–winning investigative<br />series on Apple, Charles Duigg and Keith Bradsher recount a dinner with<br />Silicon Valley executives and U.S. President Barak Obama. Apparently,<br />the President asked Steve Jobs why he didn’t build iPhones in the U.S.,<br />and Jobs replied that those positions are never coming back. Explaining<br />why, the article, also discussed in Chapter 5 of this volume, describes the<br />scale and flexibility of the Chinese company Foxconn, the human costs<br />of this scale and flexibility, and the effects of this scale and flexibility<br />on U.S. ability to compete in a global market. The Foxconn facility has<br />over two hundred thousand employees. About a quarter of them live in<br />company barracks and work twelve-hour shifts. Such enormous capacity<br />enables Foxconn not only to adapt to new design specifications but also<br />to command large numbers of workers to labor overtime. Both capacities<br />mean that the company can get new products out quickly. As an Apple<br />supply demand manager quoted in the article says, “They could hire 3,000<br />people overnight . . . What U.S. plant can find 3,000 people overnight and<br />convince them to live in dorms?” The Times piece recounts the erosion of<br />mid-wage jobs in the U.S., the increase in low-wage service sector positions,<br />and the $2 billion in stock high-level Apple employees and directors<br />received (on top of their salaries) in 2011. Overall, the piece is a depressing<br />venture into the bowels of production: the conditions of workers in<br />China and the U.S. are horrible, differently so, but linked in the misery of<br />the Apple supply chain.<br />Duigg and Bradsher end the article with an app. They write:<p></p><p style="margin-left: 40px; text-align: left;">"Before Mr. Obama and Mr. Jobs said goodbye, the Apple executive pulled an iPhone from his pocket to show off a new application—a driving game—with incredibly detailed graphics. The device reflected the soft glow of the room’s light. The other executives, whose combined worth exceeded $69 billion, jostled for position to glance over his shoulder. The game, everyone agreed, was wonderful." —Duigg, C., and K. Bradsher. “How the US Lost Out on iPhone Work.” The New<br />York Times. January 21, 2012. </p><p>After all the inequality, the exploitative reality of the production of smartphones<br />out of hundreds of components made around the world and assembled<br />in China, after all the incessant executive rhetoric of competition, of<br />can’t and must, even as Apple’s revenue tops $108 billion, we end up with<br />the app, the wonderful, fascinating app capable of capturing billionaires.<br />The app fastens all their attention to the iPhone. The device delivers a little<br />thrill, a little wonder. The executives can hold animation in their hands and<br />interact with it. In this moment of fascination, work and play converge;<br />after all, they are still executives doing the work of pressuring, lobbying,<br />and networking. Yet their fascination with the app makes them momentarily<br />childlike. The app rivets them to the phone such that they are completely<br />and totally present in the moment of the game, which means they are at<br />simultaneously withdrawn from the prior context of inequality and exploitation.<br />Fascination with the app withdraws them into immediate presence.</p><p>—Jodi Dean, <i>Apps and Drive</i><br /></p>knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-76622526875032297492019-09-09T16:44:00.001-02:002019-09-09T16:44:14.466-02:00Dark side of the rainbow <div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://1.bp.blogspot.com/-LzC-wdzhWYc/XXacX3fA_PI/AAAAAAAADVw/KmTr77qBL9wN-cda-RYDXqb8A0bY3QuKQCEwYBhgL/s1600/20190829_083803.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="900" height="640" src="https://1.bp.blogspot.com/-LzC-wdzhWYc/XXacX3fA_PI/AAAAAAAADVw/KmTr77qBL9wN-cda-RYDXqb8A0bY3QuKQCEwYBhgL/s640/20190829_083803.jpg" width="360" /></a></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“SPEAK TO ME/BREATHE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Don’t be afraid to care/Leave but don’t leave me.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy shares Miss Gulch’s threats against Toto, but Auntie Em, who is sidetracked trying to tend to baby chicks and a broken incubator, snaps “Dorothy, we’re busy!”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Look around and choose your own ground”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy searches the farmyard for someone else to talk to and settles on the farmhands.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Long you live and high you fly/But only if you ride the tide/And balanced on the biggest wave/You Race towards and early grave.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy is talking to Zeke and walking on the fence rail between two pigpens when she loses her balance and tumbles into the pigpen.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ON THE RUN”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Makes an abrupt change to the frenzied “On The Run” introduction.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Zeke races into the pigpen, rescues Dorothy, and, once they’re safely outside, sits down, wipes his brow and clutches his chest as he recovers from his fright. Auntie Em arrives with crullers, scolds Dorothy and the farmhands, and sets them — and herself — on the run to get the chores done.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “On the Run” continues; you can hear the woman announcing flights at the airport.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy frets about Toto’s fate and fantasizes about running away to place you can’t get to by boat or train, which leads her to sing “Over The Rainbow.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> What sounds like an airplane flying overhead and crashing at the very end of “On The Run”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy sings about how “… bluebirds fly/Birds fly over the rainbow.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“TIME”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The ticking clocks begin, and the alarm bell rings.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>In time with the alarm bell, we see Miss Gulch bicycling to the farm, suggesting “time’s up” for Toto. The bells continue to ring as Miss Gulch pedals up to the farmhouse, and the clock chimes fade as she hops off her bike.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>An almost doorbell-like “ding-dong” chime sounds.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Uncle Henry opens the gate to let Miss Gulch in, in perfect time with the doorbell chime.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The ticking and chiming introduction fades into the ominous opening tones of the song with it’s percussive emphasis<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy, with Toto in her arms, pleading with Auntie Em and Uncle Henry for a stay of execution that will spare Toto. Miss Gulch insists produces and order that allows her to take Toto away. Dorothy tries to protect Toto, but Uncle Henry puts the dog into Miss Gulch’s basket.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Kicking around on a piece of ground in your home town/Waiting for someone or something to show you the way”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Toto escapes from Miss Gulch’s bicycle basket, lands on a “piece of ground,” and runs back to the farm without anyone showing him the way.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Tired of lying in the sunshine, staying home to watch the rain/You are young and life is long, and there is time to kill today”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Toto returns to the farm and leaps through Dorothy’s window. Initially overjoyed to see her clever companion, Dorothy soon realizes they must run away.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “And then one day you’ll find 10 years have got behind you/No one told you where to run, you missed the starting gun.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy and Toto are viewed from behind, walking down the road and over the bridge toward Professor Marvel’s wagon. As the song “Time” continues, the camera fixes on Professor Marvel’s wagon, which advertises his focus on “Past, Present and Future” (all measures of time.)</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“The sun is the same in a relative way, but you’re older/shorter in breath but one day closer to death.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Professor Marvel has Dorothy take a seat at his crystal ball, and he talks about Isis and Osiris. Isis is the Egyptian goddess worshiped as the ideal mother and wife and matron of nature and magic. Osiris, her brother-husband, was born to the god of the earth and goddess of the skies and was great-grandson to the Egyptian sun god, Ra; he later became god of the underworld. And, yeah, this may be a bit of a stretch in pop culture coincidence land, but if this was a research paper for a literature class, it’d totally be an arguable point. As the aging professor puts his turban on his head, “shorter in breath” is sung.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Hanging on in quiet desperation is the English way/The time is gone, the song is over, thought I’d something more to say” leading into the reprise of “Breathe.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy is seated, eyes closed, desperately waiting for Professor Marvel to reveal all to her.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Home, home again/I like to be here when I can”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Professor Marvel shares his “vision” of Auntie Em back at home at the farm, crying because someone has broken her heart. Dorothy heads back for home.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“THE GREAT GIG IN THE SKY”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The guitar cues up following the piano introduction.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> We see the twister in the background.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Spoken line: “And I am not frightened of dying, any time will do, I don’t mind. Why should I be frightened of dying? There’s no reason for it, you’ve gotta go sometime.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The twister is getting ever closer as the farmhands let the horses loose, Auntie Em searches for Dorothy and Dorothy struggles to get home.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The emotional vocal solo begins and picks up in intensity.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The storm builds, Auntie Em is shouting for Dorothy, Dorothy is panicking, trying to find Auntie Em, and the twister comes closer in the background. As the vocal solo hits its emotional peak, the window blows into Dorothy’s room and strikes her on the head.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> The piano interlude leads to a more mellow, soothing vocal solo. Movie: Dorothy drifts into dream world. When she wakes, the house is shown spinning, a woman in a rocker, a cow and a pair of fishermen in a rowboat drift past her window.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“If you can hear this whispering, you are dying.” Vocal solo switches back to pick up intensity.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Miss Gulch (still on her bicycle) travels past the window and transforms to a broom-riding witch, and Dorothy hides her face in the blankets. The bed is moving around the room, and the house is dropping from the cyclone. As the “Great Gig In The Sky” phases out to soft vocalizations, the house thumps down.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“MONEY”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> The opening cash register tones of “Money” begins.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy opens up the farmhouse’s front door to reveal Munchkin Land — in living color. The bassline kicks in as Dorothy starts to walk off of her porch, and the camera pans over the scenery, showing off exotic plants, a reflecting pool and houses.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Money get back”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Munchkins are behind Dorothy, whose back is turned, trying to find out more about this mysterious visitor.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Money it’s a hit/don’t give me that do-goody good bullshit/I’m in the hi-fidelity first class traveling set/And I think I need a Lear jet”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Glinda, good witch of the North, arrives at Munchkin Land in her colorful bubble.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Sax solo<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy announces that she knows she’s not in Kansas any more and explains to Glinda she’s not a witch at all, and neither is Toto.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Guitar solo<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Glinda announces the Munchkins are free; they start coming out of the bushes, trees, manholes and everywhere else to converge upon the center of town. Dorothy explains what happened in her journey and how she came to kill the Wicked Witch of the East — with a house.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Money, it’s a crime”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The munchkin marching band escorts Dorothy to a stylish coach and sing praises of her tidy murder: “We thank you very sweetly … You’ve killed her so completely.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Money so they say/Is the root of all evil today”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The Munchkins sing “Ding Dong, The Witch Is Dead,” and those lyrics land in time with the phrase “root of all evil.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Away, away, away”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The munchkins sing “below, below, below” in describing where the wicked witch has gone away in death.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“US AND THEM”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Instrumental introduction; as the guitar solo leads in.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Coroner (Team “Us”) provides a death certificate declaring the wicked witch (Team Them) to be “most sincerely dead.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Us … Us… Us…”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The ballerinas of The Lullabye League (Team Us) enter to welcome Dorothy to Munchkin Land.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Black and blue”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The wicked witch, who is dressed in black and by virtue of being evil would be considered a dark character, arrives to the word “black.” and the camera pans back to Dorothy, who’s wearing a blue and white dress, in time with the word “blue.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “And who knows which is which and who is who”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The camera pans to all three witches (the dead witch under the house, the Wicked Witch of the West and Glinda), and the surviving wicked witch turns to Dorothy and demands to know who killed her sister.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Up and down/And in the end it’s only round and round and round”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The witch looks up and down at her dead sister, and the ruby slippers go to Dorothy’s feet, with camera angles showing the slippers “round and round.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Down … Down… Down…”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy looks down at the Yellow Brick Road</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Out … Out … Out …”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Glenda disappears in her floaty ball of colored light</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Out of the way it’s a busy day/I’ve got things on my mind”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy dances her way down the Yellow Brick Road, away from the Munchkins and on to the road to the Emerald City.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ANY COLOUR YOU LIKE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Instrumental<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>At the start of the song, Dorothy waves goodbye to the munchkins and makes her way down the Yellow Brick road, in perfect time with the music. She comes upon the scarecrow hung up in the field, they talk, she introduces herself and then helps him down.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“BRAIN DAMAGE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “The lunatic is on the grass/Remembering games and daisy chains and laughs/Got to keep the loonies on the path”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The scarecrow is singing and dancing, and in time with the lyric “keep the loonies on the path” he is shown dancing down the yellow brick road. Plus… the guy who keeps listing all he could do if “he only had a brain” is featured in a song called “Brain Damage.” You do the math.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> And if your head explodes with dark forbodings too/I’ll see you on the dark side of the moon”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy and Scarecrow do a whoop of excitement, decide they’re going to the Emerald City to see the Wizard together and dance off on the yellow brick road.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“There’s someone in my head, but it’s not me”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The talking apple tree gets angry at Dorothy, who was picking apples to eat.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ECLIPSE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>All you create/all you destroy/all that you do/all that you say/all that you eat and everyone you meet<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy and Scarecrow oil up the rusted Tin Man, who finally can speak and “meet” Dorothy and Scarecrow.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Everyone you fight”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy shakes the tin man’s right arm, which is holding his axe, in time with the music.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The pulse-like drum sequence at the end of the song (sounds like a heartbeat)<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The Tin Man explains to Dorothy and Scarecrow that he doesn’t have a heart.</span></span></div>
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<span style="background-color: #666666; border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #a2c4c9;">SECOND TIME THROUGH THE RECORD</span></em></strong></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“SPEAK TO ME/BREATHE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Instrumental, thumping percussion that resembles a heartbeat<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The Tin Man sings “If I Only had a Heart” to Dorothy and Scarecrow, telling them how he’d “be tender and be gentle” and the movie’s lyric of “a beat, how sweet” is in time with the drum rhythm of the album’s track.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Don’t be afraid to care”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Tin Man talks about going to get a heart</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Leave but don’t leave me/Look around and choose your own ground<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy asks Tin Man if he’d like to accompany her and Scarecrow to The Emerald City. As the camera “looks around,” we see the witch on top of the cottage’s roof.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Run rabbit run”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The witch throws a ball of fire at the Scarecrow to scare him; he catches fire and begins to frantically jump about; the Tin Man falls on the fire to smother it.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ON THE RUN”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The female voice at the airport announces departures.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The intrepid trio announces that they’re of to see the wizard and launches into the movie soundtrack song of the same bent.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Running feet transitioning to eerie music.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy, Tin Man and Scarecrow are walking at an increasing pace, in fear of the haunted forest. As the music changes tone, Dorothy remarks how she doesn’t like how dark and creepy the forest is. The group starts chanting “Lions and tigers and bears” and picks up its pace to a bit of a run.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Maniacal laughter<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Cowardly lion roars onto the scene, trying to frighten the travelers and proceeds to threaten and chase them all. It’s the last straw for Dorothy when Lion picks on Toto.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“TIME”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Alarm clock rings.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy tells the Lion he’s a coward; Lion admits he’s a coward and that sometimes, he even scares himself.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The percussion section switches over to a “tick-tock” type of heartbeat rhythm.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The gang explains to the Lion they’re off to see the wizard to get the Tin Man a heart.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Ticking away the moments that make up a dull day/you fritter and waste the hours in an offhand way/Waiting for something or someonen to show you the way”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>As the travelers head down the road, the wicked witch observes them through her crystal ball, announces she’ll poison a field of poppies nearby, which in turn will help her get the ruby slippers and achieve her destiny.</span></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“And you run and you run to catch up with the sun, but it’s sinking/and racing around to come up behind you again/The sun is the same in the relative way, but you’re older/shorter of breath and one day closer to death.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> With the Emerald City in sight, the travelers head through the field of poisoned poppies, unaware of the danger. Dorothy, Toto and Lion try to keep pace with the others but soon fall behind — then fall asleep — due to the poisoned poppies.</span></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “The time is gone, the song is over, thought I’d something more to say”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>At the cries and pleas of Tin Man and Scarecrow, Glinda’s sends snow to fall on the poppy field to break the Wicked Witch’s spell and wake Dorothy, Toto and The Lion.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Home, home again”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy, Toto and the Lion wake up from their nap to discover the Tin Man rusted up again — this time from the snow.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Far away across the field/the tolling of the iron bell/calls the faithful to their knees/to hear the softly spoken magic spells”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The group finishes walking across the field toward the Emerald City. In time with the lyric, the Scarecrow falls to his knees while attempting to walk on the road with the others.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“GREAT GIG IN THE SKY”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Instrumental<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The Wicked Witch hops on her broom, flies a few laps around her castle (fitting, given the song is called “Great Gig in the Sky” and heads off to the Emerald City to try to intercept the travelers. At the end of the track, she settles for threatening Dorothy by skywriting “Surrender Dorothy” with her broom.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Double drumbeat just before vocal solo picks up again.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Dorothy knocks the knocker on the Emerald City’s gate door in perfect time.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“MONEY”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Hear the cash register working.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The travelers are talking about all the things they’ll be able to do when the wizard helps them.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“US AND THEM”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Instrumental introduction<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The group begins walking down the corridor to see the Wizard of Oz.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Us … Us … Us …”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Camera shows Dorothy and her traveling companions.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“And Them … Them … Them…<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The camera pans to the flamey-looking Wizard of Oz.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“And after all we’re only ordinary men”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Shows the Tin Man quaking before the Wizard.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Me … Me … Me …”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Shows the Wizard</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “And You … You … You …<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Shows the scarecrow, cowering in the Wizard’s presence.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Forward he cried from the rear and the front rank died”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The cowardly lion, next up front to chat with the Wizard, faints from fear. Dorothy begins scolding the wizard for being mean.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“And the general sat, and the lines on the map/moved from side to side/Black and blue”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Like a general on a battlefield, the Wizard tells the travelers their mission in the fight against evil: They have to bring back the Wicked Witch’s broomsitck. When the word “blue” is sung, the color of the smoke around the Wizard’s color changes to blue.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Haven’t you heard it’s a battle of words/the poster bearer cried/Listen, son said the man with a gun/”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The group reads the warning about entering the haunted forest. As the words “the man with a gun” are sung, we see a gun in the scarecrow’s hand.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Down and out/It can’t be helped but there’s a lot of it about<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>At the word “down,” the flying monkeys begin to drop down to the earth, and chase and capture Dorothy and Totly. They fly with her out of the forest, with Dorothy and the others screaming “Help.”</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “With, without/And who’ll deny it’s what the fighting’s all about”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>As the evil monkey minions fly away with Dorothy and Toto, the now-disassembled Scarecrow explains to the others that he’s been torn apart in the fight and is without his legs, which are elsewhere in the forest.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“For want of the price of a tea and a slice/The old man died”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The Wicked Witch tells Dorothy she wants the ruby slippers, when Dorothy declines, the witch orders Toto — the old man — to be drowned.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ANY COLOUR YOU LIKE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Instrumental.<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The flying monkeys back at the castle appear to throw spears perfectly in time with the music. As the wailing guitar solo crescendoes, Dorothy starts to cry. Throughout the course of the song, we see many changing colors: red sand in the hourglass, a purple crystal ball that changes colors to sepia (to show Auntie Em hunting for Dorothy), then red, green and purple again.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“BRAIN DAMAGE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Got to keep the loonies on the path”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The witch’s soldiers are marching up the path to the gate of the witch’s great hall.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“The lunatic is in the hall.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The Scarecrow announces he has a plan to infiltrate the castle.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“And if there is no room upon the hill”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> A trio of the witches soldiers approach and invade the rocky expanse on the hill where our would-be heroes are esconsed.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “The lunatic is in my head/You raise the blade, you make the change, you re-arrange me ‘til I’m sane<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The heroes battle the blade-wielding soldiers and change into the soldiers’ clothing.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “You lock the door and throw away the key”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The camera pans to the door of the castle, where Dorothy is locked away</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “And if the band you’re in starts playing different tunes/I’ll see you on the dark side of the moon”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The heroes join up with a different band — the dark side — at the drawbridge gate to her castle. Once inside, they pull away from the group, and Toto leads them to the room where Dorothy is trapped.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ECLIPSE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Bass drum thumps<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Tin man uses his axe to chop at the door to free Dorothy.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> All that you love/all that you hate/all you distrust<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>the witch is threateningn Dorothy and her companions as the soldiers close in.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>All that you love, all that you hate, all you distrust<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>We see the switch threatinging dorothy and her traveling companions as the soldiers close in.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “All you destroy”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> The witch is talking about all the different ways she’s going to kill Dorothy and her friends.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“All that you slight/and everyone you fight”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy’s friends are fighting the soldiers and trying to get out of the castle</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>(Spoken lyric): “There is no dark side of the moon, really. Matter of fact, it’s all dark.”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>We see our group running outside, in the dark, at night, trying to find a way out, until they’re cornered by the witch’s soldiers.</span></span></div>
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<span style="background-color: #666666; border: 0px; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: #a2c4c9;">THIRD TIME THROUGH THE RECORD</span></strong></em></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“SPEAK TO ME/BREATHE”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Heartbeat percussion tempo is pounding<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The witch sets Scarecrow on fire. Dorothy grabs a pail of water to put out the blaze, and the water hits the witch, killing her</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Maniacal laughing<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Toto and a flying monkey, who claps its hands, check out the now-empty witch’s hat and gown to determine the witch is really dead.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Breathe, breathe in the air/Don’t be afraid to care/Leave but don’t leave me”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>Toto pulls back a curtain to reveal that the great and powerful Oz is nothing more than is a mere man behind a curtain.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“ON THE RUN”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> Plane flying overhead, making a crashing noise<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>The Wizard explains how his hot-air balloon failed to return to the fair and he wound up in Oz instead.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“TIME”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>The clock “alarm” goes off<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> All the citizens of the Emerald City throw their hands in the air to celebrate the pending balloon launch.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Rhythmic percussion solo that sounds like a clock ticking<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Toto jumps out of the balloon’s gondola to chase a cat; with time ticking away, Dorothy jumps out to grab Toto, and the balloon takes off without her.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“Waiting for someone or something to show you the way”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy asks Glinda for help to get home, and Glinda explains to Dorothy that she’s always had the power to get where she needs to go.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Wailing guitar solo<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>A tearful Dorothy says goodbye to her traveling companions.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>“The sun is the same in a relative way but you’re older”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>An older — and wiser — Dorothy clicks her heels and chants “there’s no place like home” as Glinda waves her star-shaped wand (the sun is a star, by the way) behind Dorothy’s head.</span></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Hanging on in quiet desperation is the English way”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie: </strong>We’re back to Dorothy’s bedroom, seeing the scene in sepia tone, as her family anxiously, desperately waits around her bedside, hoping she’ll regain consciousness.</span></span></div>
<div style="border: 0px; font-family: Arial, Helvetica, sans-serif; margin-bottom: 1.25em; outline: 0px; padding: 0px; vertical-align: baseline;">
<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music:</strong> “Hone, home again/I like to be here when I can”<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> Dorothy wakes up after saying “There’s no place like home” to see her Auntie Em, Uncle Henry and the farmhands surrounding her.</span></span></div>
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<span style="background-color: #666666;"><span style="color: #a2c4c9;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“GREAT GIG IN THE SKY”</strong><br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Music: </strong>Vocal solo<br /><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Movie:</strong> As the solo picks up steam, Dorothy fervently promises she’ll never leave home again, and we see “The End” on the screen.</span></span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-26257404246109145372019-08-14T01:13:00.003-02:002019-08-14T01:13:34.831-02:00cam church<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: cyan;"><span style="background-color: #20124d;">We have to dispense with the idea that theorising occurs after the creative event; that a poem or a track or a text is made and then, as part of its process of dissemination, there follows the theorising of the piece. Such a theorising is normally attributed to those known variously as critics, reviewers and essayists. However, what actually occurs is that theorising goes on at the same time as the creative event is being worked upon. It is complementary to the event and, more importantly, it is the continuous precondition for the event. There is always this theoretical supplement to any activity: a carpenter fits cupboards into an alcove and there is this ongoing process about the nature of the material, a questioning of the next step, and how it is best to overcome those obstacles, such as the unevenness of the wall, that present themselves. Similarly, when producers make a track there is a similar theorisation going on: what sounds to use, how they fit in to other sounds, how they relate to expectation, how best to structure the track. Such a theoretical component to any activity is denied because theory is normally attributed to a textual product, and like the role of the critic, this comes to exercise the effect upon creative producers that their activity is somehow ‘below’ the level of theoretical process.<br /> </span></span><br />
<span style="color: cyan;"><span style="background-color: #20124d;">This self-deprecation, actively instituted by the division of labour (a compartmentalisation of tasks that undoubtedly limits perception), serves to reinforce the divide between consciousness and activity, between thought and action; it severs the creative producer from the consciousness of his or her activity to the point that the theoretical component is occluded. However, if there wasn’t an ‘auto-theoretical’ element to activity, which always includes context and reciprocity and which, if made conscious, can defy the division of labour and its instating of various dualities such as that between perception and conception, then there could be no next creative event as the process of engagement is always giving rise to tangents and possible ideas for the next poem, text or track. There is a thinking and an engaging with materials at the same time. Praxis. Process. Bearings that, in the slipstream of the creative event, offer an inkling of objectives, limitations and, crucially, autonomy. Process premisses change. To deny this everpresent and constant theoretical activity, these re-orientations that include memory, endless self-interpretation and renewed possibility, is to conform to a definition of theory that is imposed: ‘it is forgotten that experience can inform theory, that theory is in itself a form of experience, that there is such a thing as a theoretical practice.’ </span></span><br />
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<span style="color: cyan;"><span style="background-color: #20124d;">Perhaps a theorising that neglects such auto-theoretical aspects could be termed ‘discourse’ and that this latter form of theoretical activity is so often hermetic, self-referencing and exclusionary is maybe because it seeks to resolve problems ‘once-and-for-all’ within a text rather than filtering these through an activity that is constantly posing these problems anew as a part of daily practice. In this way, by corralling theory into servicing their own renewal, academics do not confront the division of labour (the provisos of their knowledge) and instead reproduce the hierarchisation that not only occludes but occults the shared auto-theoretical component. Such hermetic academic discursivity – seen in the proliferation of secondary texts that veil and seek to possess the primary text – serves as a means of formalising the ‘right’ to theory; specialising it as a work of discipline that is divorced from ‘practical energies’. Yet, to re-create what is meant by ‘theorising’, to refuse to differentiate it from ‘everyday’ activity, experience and experiment is to be engaged in a process of de-conditioning; a translating and de-translating of the ‘inexhaustible stores of material’ that, by means of memory and conscience, make of everyone an auto-theorist. Such a process, in not confining problems to discourse nor in seeking to compress them within formal, dispassionate and conclusive restraints, is a process of social engagement. Not knowing of boundaries, not even knowing of taught techniques of cross-over, the sui generis sites of communication proliferate and as they do it becomes clearer that, beyond the models offered by the media and the academy, it becomes a matter of re-appropriating the means of written, visual and aural expression. This approach is, in part, what those conspicuous outsiders, the situationists, meant by ‘drifting’: a reflective activity is not solely a matter of a ‘large table and piles of books’ but is as much a matter of the social-interaction of ‘walking’: a non-discursive sense of the environment. This situationist take on auto-theorisation, which relates to the Marxist sense of critique as opposed to criticism, was partly employed to differentiate their activity from academia and, if, today, this auto-theoretical dimension has been supplanted by the discursive, making this dimension invisible to practitioners who self-deprecatingly deny its existence to themselves, it is sadly sought and reconvened in the pages and sites of the media where, not only does it fall to journalists to articulate our activity for us, it is, as a result of such voluntary delegation, a matter of creative producers searching for a ‘scene’ anywhere other than in their own auto-theoretical potential to be engaged.</span></span><br />
<span style="color: cyan;"><span style="background-color: #20124d;"><br /></span></span>
<span style="color: cyan;"><span style="background-color: #20124d;">—Howard Slater, "Post-Media Operators: ‘Sovereign & Vague’" in <i>Provocative Alloys: A Post-Media<br />Anthology</i></span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-75903651679292015472019-08-05T13:56:00.000-02:002019-08-05T14:02:58.593-02:00Ferraro suggested that all these eighties sounds seeped into the consciousness of today’s twenty-something musicians when they were toddlers falling asleep (and thus in the state of semiconsciousness known as ‘hypnagogia’). He speculated that their parents played music in the living room and it came through the bedroom walls muffled and indistinct. <div dir="ltr" style="text-align: left;" trbidi="on">
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Hi - my name is Jenna, and I work at Artsy. While researching Marcel Duchamp, I found your page: <a data-saferedirecturl="https://www.google.com/url?q=http://knowleseddyknowles.blogspot.com/2009/07/marcel-duchamp-untitled-hand-and-cigar.html&source=gmail&ust=1565099570027000&usg=AFQjCNEi4xLGF72heWGJcKdZNYEAocnxYQ" href="http://knowleseddyknowles.blogspot.com/2009/07/marcel-duchamp-untitled-hand-and-cigar.html" target="_blank">http://knowleseddyknowles.<wbr></wbr>blogspot.com/2009/07/marcel-<wbr></wbr>duchamp-untitled-hand-and-<wbr></wbr>cigar.html</a>.
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I am reaching out to certain website and blog owners that publish content in line with our <a data-saferedirecturl="https://www.google.com/url?q=https://www.artsy.net/about&source=gmail&ust=1565099570027000&usg=AFQjCNF8mFSL7AuwPAyEfJDPvQkfHTv_fQ" href="https://www.artsy.net/about" target="_blank">mission</a>
to make all the world’s art accessible to anyone. We hope to continue
promoting arts education and accessibility with your help.
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Our <a data-saferedirecturl="https://www.google.com/url?q=https://www.artsy.net/artist/marcel-duchamp&source=gmail&ust=1565099570027000&usg=AFQjCNFYIT3L4_GVC-XQkFf6wybFZcGkoA" href="https://www.artsy.net/artist/marcel-duchamp" target="_blank">Marcel Duchamp page</a>
provides visitors with Duchamp's bio, over 35 of his works, exclusive
articles, and up-to-date Duchamp exhibition listings. The page also
includes related artists and categories, allowing viewers to discover
art beyond our Duchamp page. We would love to be included as an
additional resource for your visitors via a link on your page.
<br />
<br />
If you are able to add a link to our Duchamp page, please let me know, and thanks in advance for your consideration.
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Best,
<br />
Jenna
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<i>"What art is, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap."<br />-Marcel Duchamp</i><img class="CToWUd" src="https://ci4.googleusercontent.com/proxy/uWEf722ZAcR2mWzuf0sZTxhKOasGFo9-EysNSehLgjiMEK702Mmf2P8qHbJXxP-gk5PLrCU8HNa7OXqZHSvO6wDCvQ9K6FMDu4HX2LwB_2pLQIEOg0-lsGgL69N2NMQ_rwfhcPSmx3fQm1JN7DzYifa0C1ZRDgfYlMjMO66elye7OxaEXYD-ImxCwzIHlUn9-_8l2dMpe0Br6WTdNFlVowwOUjlDPpyzGL-xIu309I2k0z4Mj1EZa8243hssv_w9LKpq5KntH09jye0SMCLvyDf3S9nfRfR73JgT9ix-CSnh16egeKHV_iINdAXbahSUzZKlfJFE6ZdvdcOwW3dMrgyThbFZ1RJio1XqLdHql9aXXhZ7swpmuztPm9CZtMM3A5ushz9BiuprcrKXYDQWloP1=s0-d-e1-ft#https://google-analytics.com/collect?v=1&t=event&ec=email&ea=open&ni=1&tid=UA-12450662-1&cid=75bd6a76-703a-46b4-8143-7b1a93ae2f9e&el=Reaching%20out%20about%20knowleseddyknowles.blogspot.com&cn=Marcel+Duchamp+6/30&cm=email&cs=DM&cc=initial&ck=knowleseddyknowles.blogspot.com&z=1498838632" /><br />
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<span class="qu" role="gridcell" tabindex="-1"><span class="gD" data-hovercard-id="jenna.p@artsymail.com" data-hovercard-owner-id="137" name="Jenna P"></span></span></h3>
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Hi Jenna,</div>
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You know how Marcel would respond: Nice Tushie!<br />
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Have a great summer! <img alt="😎" class="CToWUd" data-goomoji="1f60e" data-image-whitelisted="" src="https://mail.google.com/mail/e/1f60e" style="margin: 0 0.2ex; max-height: 24px; vertical-align: middle;" /></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-40071323190110421372019-08-03T23:06:00.002-02:002019-08-05T13:47:39.858-02:00Every generation of young people has to fight fascism. For mine, it was the overt fascism of the Nazis and their allies. For theirs, in relative peace time, it is the covert fascism of the square world. Usually this fight is lost, because young people fail to root out the seeds of fascism within themselves. -- Robert Filliou<div dir="ltr" style="text-align: left;" trbidi="on">
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THE CLOSET<br />
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<span style="font-family: "courier new" , "courier" , monospace; font-size: x-small;">Any house is a far too complicated, clumsy, fussy, mechanical counterfeit of the human body. Electric wiring for a nervous system, plumbing for bowels, heating system and fireplaces for arteries and heart, and windows for eyes, nose) and lungs generally. The structure of the house, too, is a kind of cellular tissue stuck full of bones, complex now, as the confusion of bedlam and all beside. The whole interior is a kind of stomach that attempts to digest objects—objects, objets d'art maybe, but objects always. There the affected affliction sits ever hungry—for ever more objects—or plethoric with over plenty. The whole life of the average house, it seems, is a sort of indigestion. A body in ill repair, suffering indisposition—constant tinkering and doctoring to keep alive. It is a marvel we its infestors do not go insane in it and with it. Perhaps it is a form of insanity we have put into it. </span></blockquote>
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[Fank Lloyd] Wright wrote this the same year he finished the construction of the Robie House, in his essay "The Cardboard House." It was another stab in the age-old battle between architect and housewife. Wright attacked the need for dark closet spaces. For him, the home should not be a junkyard; it should avoid having any poorly ventilated or dark rooms "to pack things out of sight." This cleansing prescription that Wright carried out in the Robie House and the rest of his Prairie homes was the basis of the modernist desire toward abstraction and minimalism: a life without objects. Without closet spaces, the home and the housewife lost the nooks and crannies where the storage of disused objects could take place. Closets contain secrets, and a home bereft of them meant these were left exposed. Closets can act as portals to enter small private worlds of supplies or excess. Previously, closets would have hidden provisions for the family, from bed linens or clothing to serving objects, stores for the winter; without closets there would be overflow in the home. If before the rural home was a self-sustained unit like a farmhouse where the production of clothes to the upkeep of animals happened within its walls, with the introduction of the garage the suburban home became autonomous from its surroundings and dependent on the car. The home became a repository and display of a family's consumption. The introduction of the car into daily life accelerated the speed of consumption. Wright's effort toward removing objects was in vain. The Robies, in need of even more closet space than they had before, started using a corner of their oversized garage. Decades later, once the garage had evolved to be an appendage to almost every suburban American home, the space started performing as the biggest storage room in the house. In the latter half of the twentieth century, the garage became the de facto space of the hoarder, the American consumer's preferred landfill. From old Legos, fishing rods, and ladders, to bikes, flotation devices, and old family albums anything and everything that could be saved for later found a home there. This devouring and collecting of goods hidden behind the garage door evicted the car and replaced it with cardboard boxes and containers holding mounds of forgotten household objects. As Wright rid the home of interior closet spaces, the home then spat out the refuse for which there was no allotted space one step closer to the street—into the garage.<!--/data/user/0/com.samsung.android.app.notes/files/share/clipdata_190803_183243_648.sdoc--><br />
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<span style="background-color: white; color: #222222; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;">-- Olivia Erlanger and Luis Ortega Govela, <i>Garage</i></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-44388980889049366292019-04-21T04:26:00.000-02:002019-04-21T04:26:32.044-02:00The van cats<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">Michael Jackson... The King of Pop, Captain EO, Scarecrow... is dead</span></div>
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<span style="font-size: large;">Published at: June 25, 2009, 5:32 p.m. CST by headgeek</span></div>
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<span style="font-size: large;">Hey folks, Harry here... Wow. If Farrah Fawcett wasn't enough, the Reaper decided to take the King of Pop... Michael Jackson. There's an entire generation that has grown up in the aftermath of scandal ridden Michael Jackson, but as a member of that "Pepsi Generation" that Michael captured with his amazing songs, dance moves and spectacles... I grieve. I always wanted Michael to do "The Lost Tour" where he'd hire Rick Baker to recreate the classic Michael Jackson to perform classic and new songs that sounded as though they came from that era... all while looking like 1983 Michael Jackson. For film - his contributions were pretty few. His big role was in the Disco reinvention of THE WIZARD OF OZ - THE WIZ - where he played a pretty awesome Scarecrow. Some of us remember seeing THRILLER by John Landis in theaters... and then of course there was CAPTAIN EO which ran for years and years at DISNEYLAND! He also found screen time in MEN IN BLACK 2 and MISS CAST AWAY. Otherwise - we know him from his pretty amazing music and signature dance moves. I remember the days when he truly ruled the Earth - he was preparing a new World Tour and there had been work on a new album as well. In the coming days I'm sure we'll hear all about it. The LA TIMES is reporting that Michael was pronounced dead at 3:15 Los Angeles time. Let's send our best wishes and hopes for his children. For now - I'll leave you with Captain EO: </span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-467511529779244912019-04-15T02:38:00.003-02:002019-04-15T02:40:43.012-02:00Being online makes me an animal<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">By the mid-<span class="ws20">19<span class="fs5 ws1f v1">th</span></span> century many members of Masonic society had come to feel the proletarian struggle coincided with their greater cause, and the use of Masonic organizations as a cover for revolutionary activity was now a long tradition, as was the tendency to use Masonic rites, customs, and icons to emblematically symbolize the values of equality, solidarity, fraternity, and work.</span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">Pierre–Joseph<span class="ws86"> Proudhon, a Mason who lived to see the formation</span> of the IWA [International Workers Association], wrote that “The Masonic God is neither Substance, Cause, Soul, Monad, Creator, Father, Logos, Love, Paraclete, Redeemer. . . God is the personification of universal equilibrium”.<span class="ws6"> </span></span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">In Proudhon’s day, the British lodges were admitting increasing numbers of proletarian members – particularly skilled and literate workers – and had come to support the workers’ struggle to the extent that the first preparatory meeting of the IWA on August 5, 1862, attended by Karl Marx among others, was held in the <span class="ff4 ws19e">Free Masons Tavern.</span> Many of those in attendance were “socialist Freemasons”, a phrase applied at the time to the members of the small lodges founded in 1850 and 1858 in London by exiled French republicans, and which involved many members of diverse national backgrounds – the “Memphite” lodges, named after the sacred Egyptian burial ground. The immediate objectives of the Memphite programme were twofold: The struggle against ignorance through education, and helping the proletarians in their struggle for emancipation by way of Proudhonian mutual aid associations. Louis Blanc was among the members of the Memphite lodges (the <span class="ff4">Loge des Philadelphes</span> in particular) along with at least seven other official founders of the IWA. In Geneva also, the local wing of the IWA was often called the <span class="ff4">Temple Unique</span> and met in the Masonic lodge of the same name. Many present at the time observed that the incipient IWA’s organizing power was so weak that if it were not for the organizing efforts of socialist Freemasons, the official founding meeting of the IWA on September 28<span class="fs5 ws1f v1">th</span> 1864 would never have come to pass.</span></span><br />
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">Communist and anarchist symbolism, such as the red star and the circle-<span class="ws20">A</span>, date back to this period and also have Masonic origin. The star, which hosts an endless charge of esoteric meanings in both the Hermetic and Pythagorean traditions, had been adopted in the 18<span class="fs5 ws1f v1">th</span> century (some say 17<span class="fs5 ws1f v1">th</span>) by Freemasons to symbolize the Second Degree of membership in their association – that of Comrade (<span class="ff4 ws20">Compañero</span> and <span class="ff4 ws6">Camarade </span>in my sources). Among socialists, it was first used by members of the Memphite lodges and then the IWA. Regarding the Circle–<span class="ws20">A</span>, early versions like the 19<span class="fs5 ws1f v1">th</span> century logo of the Spanish locale of the IWA are clearly composed of the compass, level and plumbline of Masonic iconography, the only innovation being that the compass and level are arranged to form the letter A inside of a circle.</span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">Over time these symbols have developed a new complement of meanings – many 21<span class="fs5 ws1f v1">st</span> century anarchists don’t even know that the star used by communists, anarchists and Zapatistas alike is the pagan pentagram, and are not reminded of the mathematical perfection of cosmogony when they behold it, just as they do not necessarily realize there is a genealogical link between the (neo)pagan Mayday celebration and today’s anarchist Mayday marches. In the 19<span class="fs5 ws1f v1">th</span> century, however, these symbolic associations were well known by those involved, and their adoption reflected how much they resonated with mystical and historical weight. Even Bakunin, while he rejected the personal God of his Russian orthodox childhood, put forward a pantheistic revolutionism. In a letter to his sister (1836) he wrote, “Let religion become the basis and reality of your life and your actions, but let it be the pure and single–minded<span class="ws64"> religion of divine reason and divine love. . . [I]f religion</span> and an inner life appear in us, then we become conscious of our strength, for we feel that God is within us, that same God who creates a new world, a world of absolute freedom and absolute love. . . that is our aim”.</span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">Throughout the 19<span class="fs5 ls54 ws1af v1">th</span> century the only people involved in the revolutionary scene who were consistently annoyed by this sort of mysticism were Marx and Engels. Proudhon’s ramblings about God as Universal Equilibrium were the sort of thing Marx and Engels objected to and contrasted with their own brand of “scientific socialism” – “the French reject philosophy and perpetuate religion by dragging it over with themselves into the projected new state of society”. Bakunin and Marx differed on this point and a number of others, the most famous being the role of the State. Whereas Marx considered a state dictatorship of the proletariat to be a necessary moment in his historical dialectic, Bakunin espoused the notion of a secret revolutionary organization that would “help the people towards self–<span class="ws20">determination</span>, without the least interference from any sort of domination, even if it be temporary or transitional”. Bakunin also wrote that he saw our “only salvation in a revolutionary anarchy directed by a secret collective force”: “We must direct the people as invisible pilots, not by means of any visible power, but rather through a dictatorship without ostentation, without titles, without official right, which in not having the appearance of power will therefore be more powerful.”</span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">The “dictatorial power” of this secret organization only represents a paradox if we do not recognize the long tradition, and larger cosmology, within which Bakunin is working. Revolution may be “immanent” in the people, but the guidance of illuminated men working in the “occult” was necessary to guide them in the right direction. Members of his International Brotherhood were to act “as lightening rods to electrify them with the current of revolution” precisely to ensure “that this movement and this</span><span style="color: #cfe2f3;"> organization should never be able to constitute any authorities”.</span></span></div>
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<span style="background-color: #351c75;"><span style="color: #cfe2f3;">—Erica Lagalisse, <span style="font-size: small;"><span style="font-weight: normal;"><i>Occult Features of Anarchism</i></span></span></span></span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-2636590693537489992019-04-07T18:43:00.002-02:002019-04-07T18:43:18.088-02:00"No" to normalizing Pocari Sweat<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: yellow;"><span style="background-color: #783f04;">My First Tiger<br /><br />Your readers have probably seen this heading two or three times already, but as other peoples' first tigers were not related to my first tiger, it still possesses the charm of novelty, as far as I am concerned. The manner in which he was converted into an ornament for the drawing room was as follows. As I was opening my letters, one morning, I come across a demi-official looking cover which contained a report of the death of a would-be shikari at the hands, or rather claws, of an inſuriated tiger. Two native shikaris had spent a pleasant evening in a “machan” over a 1 of water, and by the light of a waning moon had put a bullet into Mr. Stripes' shoulder; Stripes roared, the Shikaris shivered, and Stripes' mother came up to enquire into the cause of the bad language her son was using; when she saw him going on three legs, she used such fearful expressions that the “machan” shook with the agitation of the shikaris, unused as they were to anything stronger than the ordinary polite language of a native village. Mrs. Stripes helped her son back to the cover of the jungle, and silence reigned around the “machan" where the shikaris sat and shivered till sunrise, when, with rapid steps and many a glance over their shoulder, they made tracks for the nearest human habitation. There, about twenty men soon collected, and our shikaris, whose courage and imagination had been warmed by the sun, told their tale: the tiger was an enormous one, and the tigress still larger; their roars had shaken the hills; the tiger was mortally wounded and was certainly dead by this time; were they going to lose the sircar reward or were they going to show their courage by tracking a dead tiger and skinning it; and were they not twenty to one, and he a corpse! Armed with antiquated spears, guns more dangerous to the shooter than the shot at, billhooks and axes, they started in quest of the dead beast. Arrived at the “machan,” their eagerness for the fray began to diminish, they spoke in whispers and kept sharp eyes on the surrounding jungle; but blood was plentiful on the track, and no tiger could lose so much blood and live, so their spirits rose and they followed the trail gaily for a mile and a half, by which time they had grown careless in the absolute certainty that they would find nothing but a lifeless mass at end. In this they were mistaken, for with a sudden roar, a crash and a spring, Stripes stood among them; they scattered like mice before a cat, but Stripes was too quick for one of them; he caught him by the waist and quietly carried him to the foot of a tree, among the upper branches of which two of the beaters had taken refuge; they were unarmed, but yelled and shouted, and others in other trees did likewise, while some of the most distant slipped off their perches picked up their guns and fired them in the air. The general din had the desired effect; Stripes left his victim and slipped away to cover, where he was left in peace; the man was fearfully mauled, but still alive; his companions did what they could for him and carried him back to his village where he died an hour later. </span></span><br />
<span style="color: yellow;"><span style="background-color: #783f04;">My correspondent only gave me an outline of the story, and finished up with an appeal to me to send down somebody to shoot a man-eating tiger as nobody dared go into the jungle until he was accounted for. </span></span><br />
<span style="color: yellow;"><span style="background-color: #783f04;">I threw the letter across the table to M. who perused and returned it in silence: even when I asked him if he was "game," his only reply was a withering look and slight curl of his upper lip, so I said no more. It was three days before we could get away, but at last we found ourselves in a small inspection shed within a couple of miles of the ravine which had been the scene of the catastrophe already related. A consultation with some old native shikaris followed; how were we to get at Stripes, or obtain evidence of his death? No elephants were available, so we must walk, and walk circumspectly as the jungle was thick, and the tiger if alive was likely to be a dangerous customer. It would be useless driving cows in, for they would bolt at the first tigery sniff brought on the breeze; buffaloes would be better, but there were none in the adjoining villages; goats, said an old shikari, will do the trick; if the tiger is dead they will walk up to him and give tongue: if he is alive he will take one ; the others will bolt, but we shall track him by the blood of the one he takes. Now, although I should have been exceedingly pleased if Stripes had been able and willing to slay ten thousand goats, I was loath to countenance the admission of those universal exterminators into a reserved forest, but without goats, not a man would come with us to show us the ravine, so reluctantly I gave orders for the goats to be brought and marched in. They behaved beautifully; walked along steadily, till we reached the entrance to the ravine; then spread out like a line of beaters and walked through the thick jungle; we had about a dozen native shikaris with us, and they showed no desire to lead the way; we visited the scene of the tragedy, found one shoe and a sanguinary cloth on the ground, and walked on for about 100 yards; we had come over a mile and a half with our rifles at full cock, and every nerve strained, through thick jungle in which a tiger might have lain within five yards of us without being seen, and had just emerged into more open ground when the goats stampeded; instantly a babel of voices broke out in the tops of the trees behind us, and looking round, we discovered most of our shikaris well out of harm's way and looking anything but happy; two or three however stood their ground, and as soon as it was evident that Stripes was not following the goats, we walked cautiously round to where the stampede had commenced. Stripes heard us coming, and carried his goat off into a thicket before we could catch sight of him, but the fresh blood still sliding down the blades of grass showed that we were not far behind; we sat down and smoked a cigarette each, waiting for the other men to come up ; then cautiously approached the thicket and walking along the edge tried to see into it. We had not gone twenty yards when we saw the dead goat about 20 feet from the edge; Stripes was invisible though he must have been sitting there while we were enjoying our smokes. A small “machan” was soon fixed up about fifteen yards from the kill, and ten feet from the ground, and there we took our seats with one native shikari, whose sharp eyes and ears we thought would be useful. For an hour and a half we sat there, and the discomfort was awful; first one leg went to sleep, and the least attempt to move it produced a variety of creaky noises; then the other leg followed suit; finally I felt that I must move, and slowly I leant back till my head rested against a leafy pillow. I woke up suddenly finding the shikari's hand on my shoulder; he was trembling from head to foot and I was thankful that we had not allowed him to bring a gun with him; his eyes were nearly starting out of his head as he pointed with a drunkard's hand to a loophole on my left; I tried to rise silently but he signalled me back, and from the motion of his hand I understood that the tiger was walking round the machan on his way back to the goat; as soon as the shikari's hand showed that Stripes had his tail towards, me, I raised myself slowly to a sitting posture; M. looked round and shook his head, then got his eye in a line with his sights again. A twig broke; then another; then a huge paw appeared under the brushwood six feet beyond the goat; then a whisker, a nose, another paw, and a head. Bang, bang, went our expresses, and a cloud of smoke shut out the view for what seemed half an hour, though really two seconds would have covered it. When the air cleared, stripes was lying “all of a heap” and the "coup de grace" which I intended for his head caught him in the shoulder which was about the only part of him visible. He took it very quietly; neither moved nor spoke; in spite of which we deemed it wise to take precautions, M. covering the earcase with his rifle while I descended to terra firma, when I did likewise for him; we approached cautiously, and heaved half a brick at his Majesty's nose; it caught him fair on the bridge, without producing any visible or audible effect on his temper. We had already signalled for the other shikaris, and as soon as they came up, stripes was dragged out and measured; seven feet nine inches from nose to tip of tail, and twenty one inches round his fore leg; he was hoisted on two poles and we started back for camp. I almost forgot to add that he was not the wounded beast we were after, but we took it for granted that that one had died from the effects of his wounds. Now, will some old shikari tell me how to measure a tiger; should the tape be held taut, or made to follow every curve of the animal's back? My measurement was with the tape held taut; later on, after his skin had been removed and laid out, it measured ten feet six inches, and I then began to understood the possibility of twelve feet tigers.<br /><br />—"Tserofski" in INDIAN FORESTER A MONTHLY MAGAZINE of FORESTRY, AGRICULTURE, SHIKAR & TRAVEL. EDITED BY E. E. FERNANDEZ,VOLUM E XVII I891 </span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com1tag:blogger.com,1999:blog-18630368.post-80022776383976829962019-03-23T23:36:00.002-02:002019-03-23T23:36:49.001-02:00To the tune of Beethoven's Fifth<div dir="ltr" style="text-align: left;" trbidi="on">
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<blockquote>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com1tag:blogger.com,1999:blog-18630368.post-33437588039336908762019-02-21T15:26:00.001-02:002019-02-21T15:35:12.153-02:00I remember the first time I heard this song was around 5 years ago. It had been about a month since I had broken up with my girlfriend and decided to leave my circle of friends for similar reasons as to what is described in this song. Just the music and lyrics really filled me up with hope while also helping me to fill that sad spot in my heart for making my decision to leave her behind in my life. It still makes me think about her every time I hear this song. <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #d9ead3;"><span style="background-color: #20124d;"><span style="font-family: "courier new" , "courier" , monospace;">Where does the word ‘retro’ come from? According to the design historian Elizabeth Guffey, the term entered common parlance in the early sixties as a linguistic spin-off of the Space Age. Retro rockets provided reverse thrust and slowed a spaceship’s propulsion. The connection of ‘retro’ to the era of sputnik and the space race lends itself to an appealing analogy: retro as the cultural counterpart to ‘reverse thrust’, with nostalgia and revivalism emerging in the seventies as a reaction against the sixties’ full-tilt surge into the ‘out there’.<br />As attractive as this notion is, though, it seems more likely that ‘retro’ came into use as a detached prefix that had gotten unstuck from ‘retrospection’, ‘retrograde’, ‘retrogressive’ and similar words. Terms starting with ‘retro’ tend to have a negative connotation, whereas ‘pro’ is attached to words like ‘progress’. Retro itself is something of a dirty word. Few people like to be associated with it. The most bizarre example of this is the tragic story of Birmingham pub landlord Donald Cameron, who com“mitted suicide in 1998 when owner Bass Breweries decided to convert his establishment into a retro theme pub called Flares. At the inquest, his ex-wife Carol talked about how the humiliating prospect of ‘wearing a seventies outfit and a wig’ plunged Cameron into despair. ‘He felt he could not deal with any trouble in the pub. People would laugh at him because he looked ludicrous.’ A few days after being reprimanded by his Bass bosses for obstinately turning up for work in his sharp nineties suit and tie, the thirty-nine-year-old father of two asphyxiated himself in his car.</span></span></span><b><br /><span style="background-color: #20124d;"><br /></span></b><span style="background-color: #20124d;">
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<span style="background-color: #20124d;"><span style="color: #d9ead3;"><span style="font-family: "courier new" , "courier" , monospace;">—Simon Reynolds,<i> Retromania: Pop Culture's Addiction to its Own Past </i></span></span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-29230656270929776202019-01-26T14:13:00.000-02:002019-01-26T14:17:25.570-02:00Products for the Sensitive Guy Demographic<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #f6b26b;"><span style="background-color: #351c75;">THE HALAL MARKET IN TURKEY </span></span></div>
<br />
<span style="color: #f6b26b;"><span style="background-color: #351c75;">The prominently secular facade of the Turkish marketplace significantly changed with the proliferation of faith-based offerings such as Islamic media, movies, music, novels, toys, swim suits, resorts, beauty shops, and cafes in the 1990s. The scope of offerings is telling: the debut of Islamized versions of existing products reflects the heated culture war between the pro-secular Muslims and the Islamists. As Navaro-Yashin (2002, p. 223) notes, "As Islamists came to forge identities in distinction from secularists, they radically changed the sorts of things they bought and sold. They wore different clothes, ate only certain kinds of food, frequented particular shops, started special businesses of their own. The rise of the Islamist movement in popularity and power is indissoluble from the development of specialized businesses for 'Islamic goods' and the formation of market networks for believers." Indeed, the rise of the halal market is inseparable from the surge of shift of pro-Islamist parties to power and the integration of Islamic capital—that is, the accumulations of the conservative businessmen—into the post-1980s economy. Following the military coup in 1983, Turkey has witnessed a major shift from a state-controlled to a liberal market economy during the Özal administration. The market augmenting of the Ozal years changed the etatist trajectory of the state not only by considerably limiting the role of government in the economy, but, most importantly, incorporating the previously excluded groups of conservative businessmen and religious sects into the national economic landscape. For example, the interest-free banking law of 1983 was instrumental in enticing the Islamic bourgeoisie to turn significant amounts of under-the-pillow savings into investments. These investments, in turn, promoted the growth of Islamic businesses, particularly newspapers and TV stations, which allowed Islamic groups to annunciate a visible identity and strengthen their solidarity (Demir et al., 2004). Paralleling the economic visibility of Islamic bourgeoisie was its rising political influence. As pro-Islamic parties successively came to power, they awarded Islamic businesses with contracts. Backed by such governmental support and remittances of Turkish guest workers living abroad, this new breed of conservative entrepreneurs, also known as Anatolian Tigers, established many Islamic enterprises, noticeably expanding their economic and political influence in Turkish society. </span></span><br />
<span style="color: #f6b26b;"><span style="background-color: #351c75;">Many of these Anatolian tigers are the backbones of the halal movement in Turkey. They play a fundamental role in the formation of the halal industry by both championing the demand for halal products and supplying the market with Islamic goods. The public face of the halal movement is GIMDES, which states its mission as "verifying that the halal qualifications, hygiene standards, and the nutrition value of foodstuff, cleaning agents, cosmetic products and pharmaceuticals are according to Islamic norms, issuing halal certification to the same, and exposing society's need and demand for 'halal food', 'righteous wealth', and 'healthy living' to the public" (gimdes.org)." With this mission in mind, the organization has joined the halal network of key international institutions such as World Halal Council and World Halal Forum, receiving accreditation from fellow member organizations (e.g., JAKIM of Malaysia). Currently, GIMDES oversees the halal certification process, performs audits of manufacturing facilities, and trains halal certifiers. GIMDES also seeks to increase public awareness by organizing annual conferences and halal expos, publishing a bi-monthly magazine, maintaining, and informative website, and offering resources to help consumers lead a halal lifestyle. </span></span><br />
<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br /></span></span>
<span style="color: #f6b26b;"><span style="background-color: #351c75;">GIMDES is a noteworthy example to the Islamist activists’ space-making for and discursive formation of a new market within a prominently secular marketplace with little halal consciousness. Similar to the other grassroots organizations leading contemporary movements (e.g., organic, fair-trade), GIMDES is primarily interested in creating halal awareness, distinguishing halal from other market offerings, and positioning it vis-à-vis the global and local socio-historical contexts. A narrative analysis of GIMDES literature reveals that modernity, industrialization, and capitalism are the key ideological resources that the halal movement appropriates in framing its agenda. On the one hand, the movement defines itself as a counterforce to Western modernization, and, on the other hand, it strongly relies on scientific studies and modern marketing techniques to legitimize and commercialize the halal concept. The following offers an analysis of how halal advocates selectively adopt the key tenets of modernism to forge the halal movement in Turkey. </span></span><br />
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<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br /></span></span><span style="color: #f6b26b;"><span style="background-color: #351c75;">Contesting Modernity: Historicizing Halal as a Cure to Modernist Ills </span></span></div>
<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br />GIMDES accounts construe the halal movement as a countervailing force to social and economic problems posed by Western modernity. Underlying this countermodernist stance is the perception that Western individualism and the capitalist motives of modern markets have undermined the solidarity of umma, the Muslim community. According to GIMDES narratives, thanks to the strict observance of halal, Muslims have ruled over the world and have led a pristine life marked by benevolence and solidarity for centuries. This romanticized order is believed to have come to an end, however, when Western culture started infiltrating the Turkish society. In halal proponents’ narratives, the West is constructed as a “bandit” who forcefully enters the immaculate realm of Islam and cunningly introduces habit-forming non-halal products with deceiving marketing techniques in order to transmute Islamic lifestyles. The following excerpt from GIMDES’s Food Report demonstrates this view: </span></span><br />
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<span style="color: #f6b26b;"><span style="background-color: #351c75;">Western bandits raided our house, going into every corner and scattering everything we owned. What we’ve left is an umma scattered like loose prayer beads. . . . In return for the lifestyle we’ve lost, what we’ve been left with is an alien, intoxicating, supposedly modern lifestyle that’s imposed upon us . . . until recently Muslims could easily know what is halal and haram but now we’re faced with products that are new to us like Coca Cola, chips, marshmallow, and mayonnaise. . . . We have to question these products. It’s become evident that they’re harmful to both our health and our soul. </span></span></blockquote>
<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br />The characterization of Western countries as “bandits” finds an equally interesting match in halal narratives’ portrayal of industrialization and capitalism. In historicizing halal and justifying its revitalization, halal advocates frequently construe the Western modes of production as evil, jeopardizing human health and overrating capitalist motives at the expense of moral principles. This demonization is evident in elaborate, scary-tale descriptions of factories as alienating places with “giant boilers, extractors, and gears” that have replaced “our homespun” methods with soulless processes and “dubious” ingredients. This repelling image is further reinforced by claims that large corporations driven by capitalist motives use inconceivable ingredients such as “lice, blood, human hair, hog bristle” (Büyüközer, 2007, pp. 10‒18) in their products, which are then marketed in appealing packages for Muslims’ consumption. <br />The concern over the growing use of genetically modified organisms (GMOs) in the agro-business, in particular, has fueled the halal debate, allowing GIMDES to dramatize the consequences of making non-halal choices. Progressive approaches in food biotechnology such as GM crops are perceived as the reflections of the greedy and imperialist agendas of multinationals who are seeking to play God. In appealing to the ‘conscious Muslim,’ GIMDES narratives criticize the public for remaining blissfully ignorant against the threat posed by Western producers, who are said to “transmute our foods.” </span></span><br />
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<blockquote class="tr_bq">
<span style="color: #f6b26b;"><span style="background-color: #351c75;">The industrial movement, which has been rapidly growing under the control of the infidels, laid its hands on our food. It has significantly transmuted the contents of our food. . . . What should a Muslim do? Should he wake up and break free from this system or should he continue to sleep?</span></span></blockquote>
<span style="color: #f6b26b;"><span style="background-color: #351c75;">The monstrous consequences of “continu(ing) to sleep” are illustrated in elaborate conspiracy theories, which suggest that Western powers use GMOs to change Muslim consumers’ DNA structure and, thereby, manipulate them. The following quote from an article discussing the dangers of GMOs illustrates an interesting take on these conspiracy theories: </span></span><br />
<blockquote class="tr_bq">
<span style="color: #f6b26b;"><span style="background-color: #351c75;">How do they [the capitalist powers] control our DNA in order to shape our society as they wish? . . . thanks to a game that is played on our genes. . . . They analyze the blood samples taken from our people and then develop viruses that would mislead our DNA. And then, they sell these viruses to us. How? Through the British chips, French-Jew’s patented yoghurt, and the German gummy bears that have sneaked into the farthest corners of our streets.</span></span></blockquote>
<span style="color: #f6b26b;"><span style="background-color: #351c75;">Halal proponents’ decided skepticism toward Western modernity tempts them to create sci-fi scenarios that would suggest that non-halal goods are intended to overtake Muslims’ body and soul, rendering them submissive to imperial motives. The pervasive suspicion that is embodied in GIMDES narratives regarding Western modernization naturally spills over to pro-secular elites and the Westernization project in Turkey. Halal proponents argue that the modernization efforts, which most noticeably began in 1923 with Kemalist reforms and the abolishment of the Islamic Empire, not only introduced foreign ways and ideologies, but also aimed to expunge the Muslim identity and their halal sensitivity.<br /><br />For many orthodox Muslims, the secularizing reforms like the abolishment of the caliphate, the closing down of religious shrines, and the replacement of the Islamic canon law with the Swiss code marked a significant shift from an Islamic state and signaled the end of Islamic civilization. Changes like replacing the Arabic alphabet—the holy language of Islam— with Latin in instruction, when coupled with the annihilation of polygamy and enforcement of civil marriages, deeply touched the daily life of the population. Seen through this socio-historical lens, the republican era secularization efforts represent a break from Islamic traditions and practices, significantly diminishing the prevalent halal consciousness during the Ottoman times. <br />Today, this lost halal consciousness is associated with a wide range of contemporary problems, from the dissolution of communal ties to the increasing cancer rates that seemingly represent Muslims’ fall from grace. Consider the following quote: </span></span><br />
<blockquote class="tr_bq">
<span style="color: #f6b26b;"><span style="background-color: #351c75;">As a society we witnessed a period in which we were suddenly thrown out of power. Western culture was rammed down our throat. Sadly, today we’re faced with an alien lifestyle . . . our people have problems, particularly, with the foodstuff that represents the fabric of our life. The essence of these problems is the frustrations with the foreign substances that don’t belong to our culture and don’t fit with our norms. . . . We’re also confronted by a series of health problems. In the past, coronary problems or hypertension weren’t at a concerning level, but today millions of people are diagnosed with these problems and even more with cancer. When we evaluate these problems, we have to consider the issues of halal-haram. The halal certification matter didn’t come out of the blue; there is a reason why it became an issue worldwide.</span></span></blockquote>
<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br />As the above excerpt demonstrates, an eroding halal consciousness is blamed for the rise in modern-age problems, and, by the same token, halal consumption is positioned as the cure for these modern ills. In situating halal choices as the solution to modern ailments, GIMDES narratives construct the secular mindset and the social structures as the most important impediments against the movement. The secular mindset, like its Western counterpart, is said to be motivated by capitalist anxieties rather than moral responsibilities, thereby tempting manufacturers to cut corners and use Islamically unacceptable ingredients. The secular regime is also criticized for leaving the halal movement short-handed of the necessary talent and expertise to rule over on halal matters. It is argued that the regime has not only eradicated Islamic jurisdiction by replacing the independent fatwa (religious decree) institution with a state-controlled one, but also jeopardized the future of the movement by failing to produce Islamic scholars via its secular education system. </span></span><br />
<blockquote class="tr_bq">
<span style="color: #f6b26b;"><span style="background-color: #351c75;">Since issues of halal and haram relate to Islamic jurisdiction, these decisions are to be made by Islamic scholars. However, our religious scholars lack knowledge of technology. On the other hand, the people who have pursued scientific studies lack the basic knowledge of Islamic norms and canon law because the utterly secular education system deprives individuals of the basic religious teachings. . . . Following the collapse of Ottoman empire, the powers that sought to extinguish religion tried to annihilate the fatwa institution, the heart of Muslim life. During that period, the Islamic scholars were massacred and executed. They were to be replaced by a new generation of scholars programmed to suit their [secular] regime.</span></span></blockquote>
<span style="color: #f6b26b;"><span style="background-color: #351c75;"><br />As these narratives demonstrate, halal proponents justify the emergence of the halal movement and discursively construct the need for halal certification vis-à-vis two ideological rivals: Western modernity and the Westernization project in Turkey. Accordingly, adopting modern practices and secularism have swayed Turkish people away from their ‘true path,’ the ordained halal lifestyle. Having lost their halal consciousness, Muslims have fallen from grace as evident in the declining communal affection and increasing rates of diseases in Turkish society. As such, GIMDES discursively forges its quest for halal as a cure to modern ills.</span></span><br />
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<span style="color: #f6b26b;"><span style="background-color: #351c75;">—Elif Izberk-Bilgin, "Theology Meets the Marketplace: The Discursive Formation of the Halal Market in Turkey," in <i>Consumption and Spirituality</i>, eds. Diego Rinallo, Linda Scott, Pauline Maclaran </span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-62558392080559348582018-12-23T23:21:00.004-02:002018-12-23T23:21:51.916-02:00“The Pradamalia are fantasy charms composed of elements of the Prada oeuvre. They are imaginary creatures not intended to have any reference to the real world and certainly not blackface. Prada Group never had the intention of offending anyone and we abhor all forms of racism and racist imagery,” the firm said.<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #660000;"><span style="color: white;">"The conception of broadcasting as an instrument of education in the
domestic setting was most valued by people whose Victorian parents
raised them to place altruism and cultivation of feelings at the heart
of moral action. These liberal moralists were convinced that political
liberty would stimulate men and women to think for themselves, initiate
independent action, and prefer progressive ideas. John Stuart Mill convinced them that democracy would nourish a
free market of ideas. William Gladstone assured them that democracy
would create a level
playing, allowing customary and original beliefs to compete so that the
best would emerge from reflection rather than unexamined tradition. The
public-minded individuals who filled the executive posts at the BBC,
however, found that democracy had not unfolded as projected by their
intellectual and political guides, Gladstone and Mill. Democracy had
not encouraged the common folk to entertain the benefits of modern
planning of their cities. They did not give new art a chance; they
didn't value musical innovation; and they didn't put communal good ahead
of personal gain. Reason was nowhere in sight. Universal adult
franchise, granted in 1918, had brought neither the triumph of duty
over inclination, nor of will over appetite. The egoism of populist
politics eliminated such generous concepts as altruism from public
behavior. Self-governance, the moralists felt, had done nothing to cure
the Britons of their philistinism, nothing to spark a desire for moral
self-improvement. The young idealists attracted to the BBC had absorbed
John Stuart Mill's lesson that self-government was possible only among
people who had reached a certain level of moral and intellectual
development." Only when they appreciated beauty and imagination could
they rise above what Mill called "the littleness of humanity" and make
wise and impartial decisions." Men and women who had cultivated a care
for the finer things in life, [BBC founder] Reith's deputies surmised, would be more
inclined to respect tradition, the authority of the state, and national
(as opposed to immediate, personal, class-based) interests. Such a
public would be partial to consensus, law, and order, thereby improving
class relations and strengthening nationalism. </span></span><br />
<span style="background-color: #660000;"><span style="color: white;">To this pioneering
generation of executives, John Reith's ideas glistened as the talisman
that would relieve them of their discontents. Radio sparkled as technology's
greatest gift, capable of bringing cultural progress up to pace with
Britain's advances in self-governance. It would open up people's homes
to experts and transform broadcasters into public educators. They would
now have the opportunity to rope in "people previously left out from
the notion of public." They would be able to influence just as
forcefully "the invalids, unadmittables, house wives and spinsters," as
they would the "not-so-intelligent and ill informed" and the
"intelligent and ill informed." Just when electronic communication
was beginning to challenge the superiority of the values associated with
artistic culture and educated classes, the BBC gathered all sorts of
cultural entrepreneurs and intellectuals to introduce listeners to the
higher pleasures of life; all this in order to jump-start the robust
participatory democracy envisioned by their forebears. </span></span><br />
<span style="background-color: #660000;"><span style="color: white;">Reith's staff
were not naïve. They certainly had cause to be optimistic about their
grand ambitions. In the course of six years, they had transformed from a
company, established under a commercial license in 1921, to a
quasi-autonomous public service corporation in 1927. They were no
longer required to boost the sales of radios for their parent companies.
They banned advertising. They had at hand a medium of mass
communication over which the Postmaster General had granted them
legislative monopoly in Britain. Freedom from market competition and
political parties gave them freedom to carve out a mission independent
of the exigencies of the public and politicians. </span></span><br />
<span style="background-color: #660000;"><span style="color: white;">In addition, the BBC
staff drew their colleagues not from the pool of journalists trained on
Fleet Street, but from elite universities—attracting scholars and civic
entrepreneurs with reputations established through innovations in
public-sector education." </span></span><br />
<br />
<span style="background-color: #660000;"><span style="color: white;">—Shundana Yusaf, <i>Broadcasting Buildings</i></span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-73550000285653597312018-12-03T14:10:00.000-02:002018-12-03T14:15:38.383-02:00Why must Christ obey the law?<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://1.bp.blogspot.com/-ByilymDEMQ0/XAVUrNpjnTI/AAAAAAAADMA/SBU1f9GAXt8bRudIl3UJX4dQt-ex85QpQCLcBGAs/s1600/20181025_085640.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://1.bp.blogspot.com/-ByilymDEMQ0/XAVUrNpjnTI/AAAAAAAADMA/SBU1f9GAXt8bRudIl3UJX4dQt-ex85QpQCLcBGAs/s640/20181025_085640.jpg" width="640" /></a><br />
<a href="https://1.bp.blogspot.com/-Flo7hpx5n4A/XAVU1GZeg3I/AAAAAAAADME/F6Rf8tSP6yYWNnKnJ9Sf4ySVN2qFq7NOQCLcBGAs/s1600/20181025_085705.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://1.bp.blogspot.com/-Flo7hpx5n4A/XAVU1GZeg3I/AAAAAAAADME/F6Rf8tSP6yYWNnKnJ9Sf4ySVN2qFq7NOQCLcBGAs/s640/20181025_085705.jpg" width="640" /></a>"John Dogg and Nadine were quite the couple now. John Dogg was showing with Helen Hellenberger. Helen was wild about him. All the important critics were at his debut opening at her gallery. There were slide projections of blank white light. And patterned light from shallow zinc rectangles of water he'd placed strategically on the floor. He'd aimed film lamps at the rectangular pools, which sent reflections up the gallery wall in veined and fractured shimmers.<br />
John Dogg wore a well-cut linen suit and laughed easily and occupied the role of feted artist with perfect naturalism, no sign of the pushy tactics I'd seen at the Kastles'. He moved through the room confident that he was universally adored, and it seemed that he was. I'd met him the previous September and now it was late April, almost May, and he had been reinvented. This happened in New York, and you could never point to the precise turn of events, the moment when the change in human currency took place, when it surged upward or plummeted. There was only the before and the after. In the after, no one was allowed to say, hey, remember when everyone rolled their eyes about John Dogg? Shunned him, thought he was an idiot? I understood all this now. Sandro disapproved of that kind of ambition, said there was no hurry, but it was a lie, a thing successful people said, having conveniently forgotten that they themselves had been in a rush."<br />
<br />
—Rachel Kushner, <i>The Flamethrowers</i><br />
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-31760558767898639862018-11-21T00:58:00.001-02:002018-12-03T14:15:53.225-02:00P.S. As it turns out, "fascist alt-right troll" spells out FART. Yes, I do find that funny. Does that make "antifa" Anti-FART (with all that implies, including self-combustion)?<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<span style="background-color: yellow;"><span style="color: purple;"> Explain a bit about the Geneva School’s approach to labour mobility and what it revealed about their ideological framework more generally. </span></span><br />
<span style="background-color: #444444;"><span style="color: #eeeeee;"><br /></span></span> <span style="color: #eeeeee;"><span style="background-color: #444444;"><span style="color: #ead1dc;"> Right, well this is kind of a shadow subplot in the book that I wrote and in retrospect I wish I had drawn it out more but it’s something that I realize after writing the book that it’s sort of happening without me drawing the reader’s attention to it. But what’s happening is that things change over the course of the 20th century. And at the beginning of the 20th century the frame of reference for people like Hayek and Mises and Haberler is really the Hapsburg Empire and then the Danubian Basin or the area of Eastern Europe that is comprised of the different nation states that succeed the Hapsburg Empire. And when they are looking at that space they’re actually pretty doctrinaire in their support of the freedom of labour to move from one site to another. For Mises especially, I mean in his early work he is quite orthodox about the absolute necessity of the freedom of labour. That labour, like all other factors of production needs to be able to go where it’s most needed, and in his mind this is a salutary process that will probably lead to the kind of dissolution of some nations, but then it might lead to their recombination in different forms once they’ve emigrated, and there’s no central problem with this. He saw nationalities and ethnicities as unmoored from this or that territory. They should be able to form themselves in emigration as much as in the places they are ancestrally rooted to. So this is still a kind of 19th century vision of the great migrations that moved people from Central and Eastern Europe to North America and also the huge migrations that were moving internally from the countryside to the city that really drove the industrial revolution. So it’s quite absolute in its belief in labour mobility as a principle, this early Austrian position. What changes is really world wars. So the second world war produces a situation in which human mobility is now perceived as quite an acute national security threat, particularly when you think about the way the entire Japanese population was brought under suspicion as kind of a 5th column of the Emperor. The German population was, too, but to a lesser extent, stigmatized and brought under suspicion, even if they had been there for generations. And what people like Mises said, looking at the situation was effectively, this is a problem but it’s a temporary problem, but for the time being, let’s try to conceive of a system of global capitalism that doesn’t rely anymore on free labour mobility. So they say, given these constraints, what might we see as a provisional working model of something that could still work. And in that kind of, “let’s bracket this for the moment” state of mind, someone like Haberler comes up with the theory of comparative costs, which makes in sort of formal international trade economics terms the argument that if you have enough movement of goods and capital then you can profit just as much from free trade and free capital policies as if you had free movement of labour. He produces a kind of epistemological foundation or alibi for a “closed borders for people” position, not, I think, because he has any inherent antipathy towards foreigners or people of different races but because the circumstances of the borders that came up in the course of the second world war are sort of being taken seriously. </span></span></span><br />
<br />
<span style="color: purple;"><span style="background-color: yellow;"> It’s telling perhaps that while Neoliberals are capable of cultivating such a utopian disposition toward markets, they are sort of realists when it comes to the boundaries of the nation states for ordinary people. </span></span><br />
<span style="background-color: #444444;"><br /></span><span style="color: #ead1dc;"><span style="background-color: #444444;"><span style="color: #eeeeee;"><span style="color: #ead1dc;"> Oh absolutely, I think that’s unquestionable and the way that this develops only drives that point home all the more clearly. Because what we get in the course of the 20th century is not just two major world wars but also migration from the global South to the global North in significant quantities that we haven’t seen since, well, of course, the mass forced migration of slavery that effectively founded the United states, and the movement of Asian labourers to the western United States and to Canada and Australia in the late 19th century before it was shut down by exclusion acts. But when you get into the post-war period of the 1950s, 1960s, 1970s, you start to get the movement from French colonies, and then the former French colonies into the French metropole, you get guest workers arriving in large numbers from places like Turkey and Morocco into countries like West Germany and the Netherlands, and you get people from places like the British Commonwealth and the former British Empire migrating into the United Kingdom. So the creation of a multicultural and a multiracial Europe, a multiracial Britain, a multiracial France, a multiracial Germany, brings home this quote unquote problem of a clash between different cultural styles in a way that Neoliberals now are forced to confront. And the way that they confront it is exactly as you say, not exactly inspiring in the evenness with which they apply their principles to people as they do to goods and capital. What Hayek concludes in the late 1970s, looking at Margaret Thatcher’s policy, which was to effectively end immigration from countries of the global South if she had her way, this is her official position at that time, Hayek supports it. He doesn’t come out in principled opposition to that and say, even, that, you know, people deserve the same rights and movements that capital does. That would at least be a kind of honourable libertarian position, you could say, but he says, no, people are a special kind of factor of production in effect and they can be very disruptive. And, as he says, the kinds of origins of racialism come from the inability of the long-standing residents of countries to extend their welcome to newcomers. He creates and analogy to Vienna on the arrival of large numbers of Jews from further East in Eastern Europe and Russia. And he says, well, when the Jews arrived they were unable to assimilate quickly and they ended up being a disruptive force and they actually ended up producing anti-semitism. Their presence produced anti-semitism. </span> </span></span></span><br />
<br />
<span style="background-color: #444444;"><span style="color: #eeeeee;">—Quinn Slobodian interviewed by Daniel Denvir </span></span><br />
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-66317391319297196602018-11-11T00:53:00.000-02:002018-11-11T00:53:50.760-02:00Let Them Hang<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
Below is a list of the photos in order. Here's the legend:<br />
<br />
* '+' means a pictures with an identifiable person<br />
* '-' means a pictures with with faces obscured by cropping or <br />
photoshop<br />
* '[+]' means the photo is widely available<br />
* '[ ]' means the photo does NOT turn up in reverse images searches.<br />
<br />
? that last category is interesting, because it narrows the scope of <br />
where the images come from.<br />
<br />
* [#] means there's some interesting detail (below the list) about <br />
its origin<br />
<br />
The photos, in order:<br />
<br />
- [+] Boston Dynamics robot dogs running<br />
+ [+] woman wearing a keffiyeh with an assault rifle in the back of a <br />
pickup truck<br />
- [+] gender-balanced, faceless people in a crowd ? maybe a demo, <br />
maybe a concert, probably in Europe<br />
- [ ] Instagrammy composite photo of a skinny woman's arms, four hands <br />
flipping the viewer off<br />
- [ ] people eating, maybe communally, faces blurred in photoshop<br />
- [+] stock photo of an athletic woman running on a race track<br />
+ [+] composite photo ("harveryaftermath") of blacks and whites working <br />
to save kids in a flood zone<br />
+ [ ] poor Latin American kids, maybe in school, with a boy hiding his <br />
face behind paper, bandana-style<br />
- [ ] a punching bag hanging in some sort of crude training camp<br />
- [1] composite photo of two white men crouching behind a mound, one <br />
with a rifle, one with binoculars<br />
- [+] two helmeted motorcyclists pulled off by he side of a remote road, <br />
maybe coordinating<br />
- [ ] arbitrary 3D-rendered thing (a "network" I guess, but quite <br />
unusual ? interesting detail)<br />
+ [ ] outdoorsy white woman, long hair flowing, resolutely digging a <br />
trench<br />
- [ ] hippyish white man (probably), framing a house<br />
- [ ] someone welding<br />
+ [ ] infrastucture-ish composite: white guy working on a tower <br />
scaffold, container ships<br />
- [2] ambiguous photo of someone burning branches, distant crowd visible <br />
through the smoke<br />
- [+] composite: car burning, small group of people in a burning forest<br />
source: <br />
<a data-saferedirecturl="https://www.google.com/url?q=https://tineye.com/search/5db3c04fd14bd706fae384a44674a21bdcb9d457/&source=gmail&ust=1541989228038000&usg=AFQjCNGBQ0dW_qvjkBGxmNwZlkm3Ulmq9Q" href="https://tineye.com/search/5db3c04fd14bd706fae384a44674a21bdcb9d457/" rel="noreferrer" target="_blank">https://tineye.com/search/5db3<wbr></wbr>c04fd14bd706fae384a44674a21bdc<wbr></wbr>b9d457/</a><br />
- [+] misc boats in a flood zone (also Hurricane Harvey, in Houston)<br />
<br />
More details:<br />
<br />
[1] The two men crouching behind a mound is cropped from an image that <br />
appears in several articles about westerners who joined ~local forces to <br />
fight ISIS<br />
<a data-saferedirecturl="https://www.google.com/url?q=https://www.dailymail.co.uk/news/article-3049019/Peshmerga-s-foreign-legion-fighting-alongside-defeat-ISIS-workers-ex-soldiers-brave-men-world-teaming-Kurdish-forces.html&source=gmail&ust=1541989228038000&usg=AFQjCNFq3c7vHEK36Imyt64yf2rJ8prtYQ" href="https://www.dailymail.co.uk/news/article-3049019/Peshmerga-s-foreign-legion-fighting-alongside-defeat-ISIS-workers-ex-soldiers-brave-men-world-teaming-Kurdish-forces.html" rel="noreferrer" target="_blank">https://www.dailymail.co.uk/ne<wbr></wbr>ws/article-3049019/Peshmerga-<wbr></wbr>s-foreign-legion-fighting-<wbr></wbr>alongside-defeat-ISIS-workers-<wbr></wbr>ex-soldiers-brave-men-world-<wbr></wbr>teaming-Kurdish-forces.html</a><br />
<a data-saferedirecturl="https://www.google.com/url?q=https://www.independent.co.uk/news/world/middle-east/the-normal-guys-from-the-uk-and-us-who-have-given-up-their-day-jobs-to-fight-isis-in-syria-10195105.html&source=gmail&ust=1541989228038000&usg=AFQjCNE9KIdMmGaOOrn1QCbuDbK0-V8NKw" href="https://www.independent.co.uk/news/world/middle-east/the-normal-guys-from-the-uk-and-us-who-have-given-up-their-day-jobs-to-fight-isis-in-syria-10195105.html" rel="noreferrer" target="_blank">https://www.independent.co.uk/<wbr></wbr>news/world/middle-east/the-nor<wbr></wbr>mal-guys-from-the-uk-and-us-<wbr></wbr>who-have-given-up-their-day-<wbr></wbr>jobs-to-fight-isis-in-syria-<wbr></wbr>10195105.html</a><br />
<a data-saferedirecturl="https://www.google.com/url?q=https://beta.al-akhbar.com/Arab/19873/%25D8%25A7%25D9%2584%25D8%25AC%25D9%258A%25D8%25B4-%25D9%258A%25D8%25AD%25D8%25B1%25D8%25B1-3-%25D9%2582%25D8%25B1%25D9%2589-%25D8%25A8%25D9%258A%25D9%2586-%25D8%25AE%25D9%2586%25D8%25A7%25D8%25B5%25D8%25B1-%25D9%2588%25D9%2585%25D8%25B7%25D8%25A7%25D8%25B1-%25D8%25A3%25D8%25A8%25D9%2588-%25D8%25A7%25D9%2584%25D8%25B8%25D9%2587%25D9%2588&source=gmail&ust=1541989228038000&usg=AFQjCNHveYeZ5es9ujraZROmkVHJVg6CHQ" href="https://beta.al-akhbar.com/Arab/19873/%D8%A7%D9%84%D8%AC%D9%8A%D8%B4-%D9%8A%D8%AD%D8%B1%D8%B1-3-%D9%82%D8%B1%D9%89-%D8%A8%D9%8A%D9%86-%D8%AE%D9%86%D8%A7%D8%B5%D8%B1-%D9%88%D9%85%D8%B7%D8%A7%D8%B1-%D8%A3%D8%A8%D9%88-%D8%A7%D9%84%D8%B8%D9%87%D9%88" rel="noreferrer" target="_blank">https://beta.al-akhbar.com/Ara<wbr></wbr>b/19873/%D8%A7%D9%84%D8%AC%D9%<wbr></wbr>8A%D8%B4-%D9%8A%D8%AD%D8%B1%<wbr></wbr>D8%B1-3-%D9%82%D8%B1%D9%89-%<wbr></wbr>D8%A8%D9%8A%D9%86-%D8%AE%D9%86<wbr></wbr>%D8%A7%D8%B5%D8%B1-%D9%88%D9%<wbr></wbr>85%D8%B7%D8%A7%D8%B1-%D8%A3%<wbr></wbr>D8%A8%D9%88-%D8%A7%D9%84%D8%<wbr></wbr>B8%D9%87%D9%88</a><br />
<br />
[2] the photo of someone burning branches comes from an image <br />
("dakota2.jpg) that appears widely on college essay?selling websites <br />
to illustrate a webpage called "law-enforcement-essays.html", with a <br />
bias toward "racial profiling essays" and "essay on police corruption"<br />
<a data-saferedirecturl="https://www.google.com/url?q=https://www.google.com/search?source%3Dhp%26ei%3D1-nmW9WJIu3isAeVr6KYDg%26q%3D%2522law-enforcement-essays.html%2B%2522%26oq%3D%2522law-enforcement-essays.html%2B%2522%26gs_l%3Dpsy-ab.3...628.3317.0.3913.5.4.0.0.0.0.116.320.3j1.4.0....0...1.1.64.psy-ab..1.0.0.0...0.LHWyEv-PD5c&source=gmail&ust=1541989228039000&usg=AFQjCNH1aQUequYXGrn-ZzlD96nH8JLpoQ" href="https://www.google.com/search?source=hp&ei=1-nmW9WJIu3isAeVr6KYDg&q=%22law-enforcement-essays.html+%22&oq=%22law-enforcement-essays.html+%22&gs_l=psy-ab.3...628.3317.0.3913.5.4.0.0.0.0.116.320.3j1.4.0....0...1.1.64.psy-ab..1.0.0.0...0.LHWyEv-PD5c" rel="noreferrer" target="_blank">https://www.google.com/search?<wbr></wbr>source=hp&ei=1-nmW9WJIu3isAeVr<wbr></wbr>6KYDg&q=%22law-enforcement-<wbr></wbr>essays.html+%22&oq=%22law-<wbr></wbr>enforcement-essays.html+%22&<wbr></wbr>gs_l=psy-ab.3...628.3317.0.<wbr></wbr>3913.5.4.0.0.0.0.116.320.3j1.<wbr></wbr>4.0....0...1.1.64.psy-ab..1.0.<wbr></wbr>0.0...0.LHWyEv-PD5c</a><br />
<br />
That last bit is interesting, because it suggests something that had <br />
never occurred to me: essays-for-sale websites being used to identify <br />
specific students' political leanings. Maybe some enterprising <br />
journalist can take that one on ? by using reserve image searches to <br />
identify where ~stock photography is used on anonymous, cloned <br />
essay-selling sites.<br />
<br />
Other possible follow-ups that could shed light on where this site comes <br />
from:<br />
<br />
- language analysis, to see where else the phrasing is popping up<br />
- identifying faces (for example, the woman digging a trench)<br />
<br />
One really interesting find: Reverse image searches turn up one more <br />
photo that didn't make it into the final production, called <br />
"hangingrose.203ee432.png," which was to appear in a section called "Let <br />
Them Hang ..." It's a homebrew photo (not available elsewhere) of a <br />
bouquet of flowers, hanging upside-down on a wall, above a US-style <br />
electrical socket. That seems like a pretty sophisticated proposition: a <br />
sentimental appeal phrased in the passive voice but strongly suggestive <br />
of political violence as a tragic, forlorn necessity. I have <br />
screengrabs. Who "they" are who'll be hanging is left to the reader's <br />
fantasy. The phrase "let them hang" comes from Shakespeare's Twelfth <br />
Night (1.3), but it's attained a slightly meme-like status in a variety <br />
of music circles:<br />
<br />
<a data-saferedirecturl="https://www.google.com/url?q=https://www.youtube.com/results?search_query%3D%2522let%2Bthem%2Bhang%2522&source=gmail&ust=1541989228039000&usg=AFQjCNHzCl_y8ZYm7-p4xq3hzuQB45-VLg" href="https://www.youtube.com/results?search_query=%22let+them+hang%22" rel="noreferrer" target="_blank">https://www.youtube.com/result<wbr></wbr>s?search_query=%22let+them+<wbr></wbr>hang%22</a> <br />
<br />
<br />
—Ted Byfield on nettime<br />
</div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-42331038685923169432018-11-08T12:39:00.002-02:002018-11-08T12:41:07.550-02:00Windows96 is that guy from Arcade Fire? He's the root cause of all nostalgia in music since early 2000s. I don't think so... I thought he was from brazil<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #f3f3f3;"><span style="background-color: #38761d;">Presently they're linked and slowly descending from wee-hours Manhattan into teeming darkness, leaving the surface-Net crawlers busy overhead slithering link to link, leaving behind the banners and pop-ups and user groups and self-replicating chat rooms . . . down to where they can begin cruising among co-opted blocks of address space with cyber-thugs guarding the perimeters, spammer operation centers, video games one way or another deemed too violent or offensive or intensely beautiful for the market as currently defined...</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Some nice foot-lover sites too," Eric comments casually. Not to mention more forbidden expressions of desire, beginning with kiddie porn and growing even more toxic from there.</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">It surprises Maxine how populated it is down here in sub-spider country. Adventurers, pilgrims, remittance folks, lovers on the run, claim jumpers, skips, fugue cases, and a high number of inquisitive entrepre-nerds, among them Promoman, whom Eric introduces her to. His avatar is an amiable geek in square-rim glasses wearing a pair of old-school sandwich boards that carry his name, as do those of his curvaceous co-adjutor Sandwichgrrl, her hair literally flaming, a polygon-busy GIF of a bonfire on top of a manga-style subteen face. </span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Deep Web advertising, wave of the future," Promoman greets Maxine. "Thing is to get position now, be in place, already up and running when the crawlers show up here, which'll be any minute."</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Wait—you're actually seeing revenue from ads on sites down here?"</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Right now it's weapons, drugs, sex, Knicks tickets . . ."</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"All that real recherché shit," puts in Sandwichgrrl. "It's still unmessed-with country. You like to think it goes on forever, but the colonizers are coming. The suits and tenderfeet. You can hear the blue-eyed-soul music over the ridgeline. There's already a half dozen well-funded projects for designing software to crawl the Deep Web—"</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Is that," Maxine wonders, "like, 'Ride the Wild Surf'?"</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"Except summer will end all too soon, once they get down here, everything'll be suburbanized faster than you can say 'late capitalism.' Then it'll be just like up there in the shallows. Link by link, they'll bring it all under control, safe and respectable. Churches on every corner. Licenses in all the saloons. Anybody still wants his freedom'll have to saddle up and head somewhere else."</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"If you're looking for bargains," advises Sandwichgrrl, "there are some nice ones around the Cold War sites, but prices may not stay reasonable for long."</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">"I'll bring this up at our next board meeting. Meantime maybe I will just go have a look."</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">It isn't a promising neighborhood. If there was a Robert Moses of the Deep Net, he'd be screaming, "Condemn it already!" Broken remnants of old military installations, commands long deactivated, as if transmission towers for ghost traffic are still poised out on promontories far away in the secular dark, corroded, untended trusswork threaded in and out with vines and leaves of faded poison green, using abandoned tactical frequencies for operations long defunded into silence . . . Missiles meant for shooting down Russian prop-driven bombers, never deployed, lying around in pieces, as if picked over by some desperately poor population that comes out only in the deepest watches of the night. Gigantic vacuum-tube computers with half-acre footprints, gutted, all empty sockets and strewn wiring. Littered situation rooms, high-sixties plastic detailing gone brittle and yellow, radar consoles with hooded circular screens, desks still occupied by avatars of senior officers in front of flickering sector maps, upright and weaving like hypnotized snakes, images corrupted, paralyzed, passing to dust.</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">Maxine notices that one of these maps is centered on eastern Long Island. The room has a familiar look, austere and unmerciful. She is visited by one of those rogue hunches. "Eric, how do we get into this one?"</span></span><br />
<span style="color: #f3f3f3;"><span style="background-color: #38761d;"><br /></span></span>
<span style="color: #f3f3f3;"><span style="background-color: #38761d;">—Thomas Pynchon, Bleeding Edge </span></span><br />
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-76713334879023320532018-10-19T12:42:00.001-02:002018-10-21T00:04:13.170-02:00Message from the Japanese Embassy in Vancouver to all Japanese citizens living abroad<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #e06666; color: blue;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-small;">The defunct band "TIA & tha Knutz" now simply called "Tia Ray", photograph circa </span>2013.</span></div>
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<span class="tlid-translation translation" style="color: white; font-size: 23px; line-height: normal; min-height: 20px; padding-right: 8px; white-space: pre-wrap;">About legalization of cannabis in Canada
Published October 4, Heisei 30
With the enactment of the "Canadian Canadian Act on Marijuana" that was adopted on June 21, we will inform you of the following reminders to Japanese nationals.
1. In Canada, possession and use of cannabis (marijuana) will be legalized from 17th October this year.
2. Meanwhile, in Japan in the Cannabis Control Law, the possession / transfer of cannabis (including purchase) etc is illegal and subject to punishment.
3. This provision may be applied not only in Japan but also in foreign countries.
Four. Japanese nationals residing in Japan and Japanese tourists should observe these Japanese laws and take sufficient precautions not to hand over cannabis (as well as foods and drinks containing cannabis), even outside of Japan I hope.</span></div>
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<span class="tlid-translation translation" style="color: white; font-size: x-small; line-height: normal; min-height: 20px; padding-right: 8px; white-space: pre-wrap;">Source: https://www.vancouver.ca.emb-japan.go.jp/itpr_ja/00_000921.html</span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-86054752490297068902018-10-11T22:41:00.000-02:002018-10-12T15:44:54.334-02:00Hi Alex, I tried to answer your phone call the other day but was not able to hear you. Anyhow, I'm now playing low stakes poker (and tournaments) at the Big Easy Casino 4 nights a week until 2 am. It gets me out of the house socially. I work out most days in the pool for at least an hours, but still eating bad (McDonald's and Burger King most nights after poker, and sleeping most of the day). T is a successful acupuncturist in partnership in California and will be visiting with me for a few days in early November. I'm very happy with the Trump Administration and Kavanaugh's appointment to the Supreme Court. Best regards, Rick<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: black;"><span style="color: #f3f3f3;">Kanye West is not Picasso</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am Picasso</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">Kanye West is not Edison</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am Edison</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am Tesla</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">Jay-Z is not the Dylan of anything</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am the Dylan of anything</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am the Kanye West of Kanye West</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">The Kanye West</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">Of the great bogus shift of bullshit culture</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">From one boutique to another</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am Tesla</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am his coil</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">The coil that made electricity soft as a bed</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am the Kanye West Kanye West thinks he is</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">When he shoves your ass off the stage</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I am the real Kanye West</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I don’t get around much anymore</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I never have</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">I only come alive after a war</span></span><br />
<span style="background-color: black;"><span style="color: #f3f3f3;">And we have not had it yet</span></span></div>
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<span style="background-color: black;"><span style="color: #f3f3f3;">-- Leonard Cohen</span></span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-39485604759913290182018-10-05T01:14:00.001-02:002018-10-05T01:14:41.429-02:00Inception<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #d5a6bd;">JORF n°0229 du 4 octobre 2018
<br />
texte n° 113
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<strong>Recommandation sur les équivalents français à donner à l'expression fake news</strong>
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NOR: <span>CTNR1826048K</span></span>
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<span style="color: #d5a6bd;"><a href="https://www.blogger.com/null" id="JORFARTI000037460898" name="JORFARTI000037460898" style="text-decoration: none;"> </a></span></div>
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<span style="color: #d5a6bd;"><br />Portée par l'essor des médias sur la toile et l'activité des réseaux
sociaux, l'expression anglo-saxonne fake news, qui désigne un ensemble
de procédés contribuant à la désinformation du public, a rapidement
prospéré en français.<br />Voilà une occasion de puiser dans les
ressources de la langue pour trouver des équivalents français. Lorsqu'il
s'agit de désigner une information mensongère ou délibérément biaisée,
répandue par exemple pour favoriser un parti politique au détriment d'un
autre, pour entacher la réputation d'une personnalité ou d'une
entreprise, ou encore pour contredire une vérité scientifique établie,
on pourra recourir au terme « information fallacieuse », ou au
néologisme « infox », forgé à partir des mots « information » et «
intoxication ».<br />On pourra aussi, notamment dans un cadre juridique,
utiliser les termes figurant dans la loi de 1881 sur la liberté de la
presse ainsi que dans le <a href="https://www.legifrance.gouv.fr/affichCode.do?cidTexte=LEGITEXT000006070239&dateTexte=&categorieLien=cid">code électoral</a>, le <a href="https://www.legifrance.gouv.fr/affichCode.do?cidTexte=LEGITEXT000006070719&dateTexte=&categorieLien=cid">code pénal</a> ou le <a href="https://www.legifrance.gouv.fr/affichCode.do?cidTexte=LEGITEXT000006072026&dateTexte=&categorieLien=cid">code monétaire et financier</a> : « nouvelle fausse », « fausse nouvelle », « information fausse » ou « fausse information ».<br />En
tout état de cause, la Commission d'enrichissement de la langue
française recommande l'emploi, au lieu de fake news, de l'un de ces
termes, choisi en fonction du contexte.</span><br />
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-40552034779643333902018-09-24T22:39:00.000-02:002018-09-24T22:59:28.703-02:00Nicole's Cage<div dir="ltr" style="text-align: left;" trbidi="on">
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A Lesbian Artist Who Painted Her Circle of Women at the Turn of the 20th Century</span></h2>
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<span class="hb"><span style="color: #cfe2f3;">to <span class="g2" data-hovercard-id="michaelceddy@gmail.com" dir="ltr" name="me">me</span></span> </span></div>
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<a data-saferedirecturl="https://www.google.com/url?q=http://hyperallergic.com/325736/a-lesbian-artist-who-painted-her-circle-of-women-at-the-turn-of-the-20th-century/&source=gmail&ust=1537922070539000&usg=AFQjCNGLQ6VGEmWqhFkdIFfDBkSp9JSkOg" href="http://hyperallergic.com/325736/a-lesbian-artist-who-painted-her-circle-of-women-at-the-turn-of-the-20th-century/" rel="noreferrer" target="_blank">http://hyperallergic.com/32573<wbr></wbr>6/a-lesbian-artist-who-painted<wbr></wbr>-her-circle-of-women-at-the-<wbr></wbr>turn-of-the-20th-century/</a> <br />
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<span style="color: #cfe2f3;">The image at the bottom of “Una, Lady Troubridge” would be a good model for your Lesbian self portrait!</span><br />
<span style="color: #cfe2f3;">me thinks</span><br />
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<span style="color: #cfe2f3;"><span class="hb">to <span class="g2" data-hovercard-id="trolleybus2@gmail.com" dir="ltr" name="t.bus">you</span> </span></span></div>
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<span style="color: #cfe2f3;"><br />Hi <b>you</b>, </span><br />
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<span style="color: #cfe2f3;">I like it</span><br />
<span style="color: #cfe2f3;">But I think maybe you had someone else in mind?</span><br />
<span style="color: #cfe2f3;">My Lesbian self portrait would require several extra layers of paint, I am not sure I could pull it off.</span></div>
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knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-83303460477330192402018-09-14T03:18:00.002-02:002018-09-14T03:38:04.707-02:00Titles for Beth's paintings (but I might use a couple too)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="_5yl5">1. If I look too closely all I see is Donair meat </span><br />
<span class="_5yl5">2. Subterbody </span><br />
<span class="_5yl5">3. Find the strangest website you can about ecology </span><br />
<span class="_5yl5">4. All ideas start as memes </span><br />
<span class="_5yl5">5. Banana with Adam's apple </span><br />
<span class="_5yl5">6. Painting in a vacuum </span><br />
<span class="_5yl5">7. Tirades </span><br />
<span class="_5yl5">8. Politics of synaesthesia </span><br />
<span class="_5yl5">9. Becoming anti-intellectual </span><br />
<span class="_5yl5">10. Academia saves you from stupid ideas </span><br />
<span class="_5yl5">11. Pig ribs at the scale of cow ribs </span><br />
<span class="_5yl5">12. Pickle of the scene </span><br />
<span class="_5yl5">13. Asking permission for rights to traveling wilburys song </span><br />
<span class="_5yl5">14. TED talk with rapping AI robot </span><br />
<span class="_5yl5">15. Algorithms of consent </span><br />
<span class="_5yl5">16. Attention payments </span><br />
<span class="_5yl5">17. You would be so poetic / as a pair of underwear / hanging from the balcony </span><br />
<span class="_5yl5">18. Clouds inside a house </span><br />
<span class="_5yl5">19. Digestive system in a bank vault </span><br />
<span class="_5yl5">20. Drapery in a server farm</span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-23097808731606494782018-09-07T14:13:00.001-02:002018-09-07T23:18:00.371-02:00For Beau<div dir="ltr" style="text-align: left;" trbidi="on">
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"The children," writes Ryman, "knew the Substitute was not a real teacher because he was so soft" (168). "Substitute" derives from the word "succeed," and the sense of possibility around the changeover is deeply embedded in the word. A substitute brings optimism if he hasn't yet been defeated-by life or by the students. He enters their lives as a new site for attachment, a dedramatized possibility. He is by definition a placeholder, a space of abeyance, an aleatory event. His coming is not personal-he is not there for anyone in particular. The amount of affect released around him says something about the intensity of the children's available drive to be less dead, numb, neutralized, or crazy with habit; but it says nothing about what it would feel like to be in transit between the stale life and all its others, or whether that feeling would lead to something good.<br />
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Of course, often students are cruel to substitutes, out of excitement at the unpredictable and out of not having fear or transference to make them docile or even desiring of a recognition that has no time to be built. But this substitute is special to Dorothy: he is an actor, like her parents; he teaches them Turkish, and tells them about alternative histories lived right now and in the past (171). Dorothy fantasizes about Frank Baum not in a narrative way, but with a mixture of sheer pleasure and defense: "Frank, Frank, as her uncle put his hands on her" (16g); then she berates herself for her "own unworthiness" (169) because she knows "how beautiful you are and I know how ugly I am and how you could never have anything to do with me" (174). She says his name, Frank, over and over: it "seemed to sum up everything that was missing from her life" (16g). Yet, face to face she cannot bear the feeling of relief from her life that the substitute's being near provides for her. She alternately bristles and melts at his deference, his undemanding kindness. She mocks him and disrupts class to drown out her tenderness, but obeys him when he asks her to leave the room to just write something, anything.<br />
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What she comes back with is a lie, a wish. Her dog, Toto, had been murdered by her aunt and uncle, who hated him and who had no food to spare for him. But the story she hands in to the substitute is a substitute: it is about how happy she and Toto are. It includes sentences about how they play together and how exuberant he is, running around yelping "like he is saying hello to everything" (174). Imaginary Toto sits on her lap, licks her hand, has a cold nose, sleeps on her lap, and eats food that Auntie Em gives her to give him. The essay suggests a successful life, a life where love circulates and extends its sympathies, rather than the life she actually lives, where "[i]t was as if they had all stood back-to-hack, shouting 'love' at the tops of their lungs, but in the wrong direction, away from each other"(221). It carries traces of all of the good experience Dorothy has ever had. The essay closes this way: "I did not call him Toto. That is the name my mother gave him when she was alive. It is the same as mine" (175).<br />
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Toto, Dodo, Dorothy: the teacher sees that the child has opened up something in herself, let down a defense, and he is moved by the bravery of her admission of identification and attachment. But he makes the mistake of being mimetic in response, acting soft toward her in a way he might imagine that she seeks to be: "I'm very glad," he murmured, "that you have something to love as much as that little animal." Dorothy goes ballistic at this response and insults Baum, but goes on to blurt out all of the truths of her life, in public, in front of the other students. She talks nonstop about being raped and hungry all the time, about the murder of her dog, and about her ineloquence: "I can't say anything," she closes (176). That phrase means she can't do anything to change anything. From here she regresses to yelping and tries to dig a hole in the ground, to become the size she feels, and also to become, in a sense, an embodiment of the last thing she loved. After that, Dorothy goes crazy, lives in a fantasy world of her own, wandering homeless and free, especially, of the capacity to reflect on loss in the modalities of realism, tragedy, or melodrama. To protect her last iota of optimism, she goes crazy.<br />
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—Lauren Berlant, <i>Cruel Optimism</i></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-75091076344391644522018-05-30T01:01:00.001-02:002018-05-30T11:27:08.450-02:00Winnie the poo eyeing an aubergine<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: #783f04;"><span style="color: yellow;">Capitalism is a system for concentrating wealth, which makes possible new investments, which further concentrate wealth. This process is accumulation. Classic models take us to the factory: factory owners concentrate wealth by paying workers less than the value of the goods that the workers produce each day. Owners “accumulate” investment assets from this extra value. </span></span><br />
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<span style="background-color: #783f04;"><span style="color: yellow;">Even in factories, however, there are other elements of accumulation. In the nineteenth century, when capitalism first became an object of inquiry, raw materials were imagined as an infinite bequest from Nature to Man. Raw materials can no longer be taken for granted. In our food procurement system, for example, capitalists exploit ecologies not only by reshaping them but also by taking advantage of their capacities. Even in industrial farms, farmers depend on life processes outside their control, such as photosynthesis and animal digestion. In capitalist farms, living things made within ecological processes are coopted for the concentration of wealth. This is what I call “salvage,” that is, taking advantage of value produced without capitalist control. Many capitalist raw materials (consider coal and oil) came into existence long before capitalism. Capitalists also cannot produce human life, the prerequisite of labor. “Salvage accumulation” is the process through which lead firms amass capital without controlling the conditions under which commodities are produced. Salvage is not an ornament on ordinary capitalist processes; it is a feature of how capitalism works.</span></span><br />
<span style="background-color: #783f04;"><span style="color: yellow;"><br />Sites for salvage are simultaneously inside and outside capitalism; I call them “pericapitalist.” All kinds of goods and services produced by pericapitalist activities, human and nonhuman, are salvaged for capitalist accumulation. If a peasant family produces a crop that enters capitalist food chains, capital accumulation is possible through salvaging the value created in peasant farming. Now that global supply chains have come to characterize world capitalism, we see this process everywhere. “Supply chains” are commodity chains that translate value to the benefit of dominant firms; translation between noncapitalist and capitalist value systems is what they do. </span></span><br />
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<span style="background-color: #783f04;"><span style="color: yellow;">Salvage accumulation through global supply chains is not new, and some well-known earlier examples can clarify how it works. Consider the nineteenth-century ivory supply chain connecting central Africa and Europe as told in Joseph Conrad’s novel Heart of Darkness. The story turns around the narrator’s discovery that the European trader he much admired has turned to savagery to procure his ivory. The savagery is a surprise because everyone expects the European presence in Africa to be a force for civilization and progress. Instead, civilization and progress turn out to be cover-ups and translation mechanisms for getting access to value procured through violence: classic salvage. For a brighter view of supply-chain translation, consider Herman Melville’s account of the nineteenth-century procurement of whale oil for Yankee investors. Moby-Dick tells of a ship of whalers whose rowdy cosmopolitanism contrasts sharply with our stereotypes of factory discipline; yet the oil they obtain from killing whales around the world enters a U.S.-based capitalist supply chain. Strangely, all the harpooners on the Pequod are unassimilated indigenous people from Asia, Africa, America, and the Pacific. The ship is unable to kill a single whale without the expertise of people who are completely untrained in U.S industrial discipline. But the products of this work must eventually be translated into capitalist value forms; the ship sails only because of capitalist financing. The conversion of indigenous knowledge into capitalist returns is salvage accumulation. So too is the conversion of whale life into investments.<br /> </span></span><br />
<span style="background-color: #783f04;"><span style="color: yellow;">Before you conclude that salvage accumulation is archaic, let me turn to a contemporary example. Technological advances in managing inventory have energized today’s global supply chains; inventory management allows lead firms to source their products from all kinds of economic arrangements, capitalist and otherwise. One firm that helped put such innovations in place is the retail giant Wal-Mart. Wal-Mart pioneered the required use of universal product codes (UPCs), the black-and-white bars that allow computers to know these products as inventory. The legibility of inventory, in turn, means that Wal-Mart is able to ignore the labor and environmental conditions through which its products are made: pericapitalist methods, including theft and violence, may be part of the production process. With a nod to Woody Guthrie, we might think about the contrast between production and accounting through the two sides of the UPC tag. One side of the tag, the side with the black-and-white bars, allows the product to be minutely tracked and assessed. The other side of the tag is blank, indexing Wal-Mart’s total lack of concern with how the product is made, since value can be translated through accounting. Wal-Mart has become famous for forcing its suppliers to make products ever more cheaply, thus encouraging savage labor and destructive environmental practices. Savage and salvage are often twins: Salvage translates violence and pollution into profit. </span></span><br />
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<span style="background-color: #783f04;"><span style="color: yellow;">As inventory moves increasingly under control, the requirement to control labor and raw materials recedes; supply chains make value from translating values produced in quite varied circumstances into capitalist inventory. One way of thinking about this is through scalability, the technical feat of creating expansion without the distortion of changing relations. The legibility of inventory allows scalable retail expansion for Wal-Mart without requiring that production be scalable. Production is left to the riotous diversity of nonscalability, with its relationally particular dreams and schemes. We know this best in “the race to the bottom”: the role of global supply chains in promoting coerced labor, dangerous sweatshops, poisonous substitute ingredients, and irresponsible environmental gouging and dumping. Where lead firms pressure suppliers to provide cheaper and cheaper products, such production conditions are predictable outcomes. As in Heart of Darkness, unregulated production is translated in the commodity chain, and even reimagined as progress. This is frightening. At the same time, as J. K. Gibson-Graham argue in their optimistic reach toward a “postcapitalist politics,” economic diversity can be hopeful. Pericapitalist economic forms can be sites for rethinking the unquestioned authority of capitalism in our lives. At the very least, diversity offers a chance for multiple ways forward—not just one.</span></span><br />
<span style="background-color: #783f04;"><span style="color: yellow;"><br />In her insightful comparison between the supply chains for French green beans (haricots verts) that link West Africa with France and East Africa with Great Britain, respectively, geographer Susanne Freidberg offers a sense of how supply chains, drawing variously on colonial and national histories, may encourage quite different economic forms. French neocolonial schemes mobilize peasant cooperatives; British supermarket standards encourage expatriate scam operations. Within and across differences such as these, there is room for building a politics to confront and navigate salvage accumulation. But following Gibson-Graham to call this politics “postcapitalist” seems to me premature. Through salvage accumulation, lives and products move back and forth between noncapitalist and capitalist forms; these forms shape each other and interpenetrate. The term “pericapitalist” acknowledges that those of us caught in such translations are never fully shielded from capitalism; pericapitalist spaces are unlikely platforms for a safe defense and recuperation.</span></span><br />
<span style="background-color: #783f04;"><span style="color: yellow;"><br />At the same time, the more prominent critical alternative—shutting one’s eyes to economic diversity—seems even more ridiculous in these times. Most critics of capitalism insist on the unity and homogeneity of the capitalist system; many, like Michael Hardt and Antonio Negri, argue that there is no longer a space outside of capitalism’s empire. Everything is ruled by a singular capitalist logic. As for Gibson-Graham, this claim is an attempt to build a critical political position: the possibility of transcending capitalism. Critics who stress the uniformity of capitalism’s hold on the world want to overcome it through a singular solidarity. But what blinders this hope requires! Why not instead admit to economic diversity?</span></span><br />
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<span style="background-color: #783f04;"><span style="color: yellow;">My goal in bringing up Gibson-Graham and Hardt and Negri is not to dismiss them; indeed, I think they are perhaps the early twenty-first century’s most trenchant anticapitalist critics. Furthermore, by setting out strongly contrasting goal posts between which we might think and play, they jointly do us an important service. Is capitalism a single, overarching system that conquers all, or one segregated economic form among many? Between these two positions, we might see how capitalist and noncapitalist forms interact in pericapitalist spaces. Gibson-Graham advise us, quite correctly I think, that what they call “noncapitalist” forms can be found everywhere in the midst of capitalist worlds—rather than just in archaic backwaters. But they see such forms as alternatives to capitalism. Instead, I would look for the noncapitalist elements on which capitalism depends. Thus, for example, when Jane Collins reports that workers in Mexican garment assembly factories are expected to know how to sew before they begin their jobs, because they are women, we are offered a glimpse of noncapitalist and capitalist economic forms working together. Women learn to sew growing up at home; salvage accumulation is the process that brings this skill into the factory to the benefit of owners. To understand capitalism (and not just its alternatives), then, we can’t stay inside the logics of capitalists; we need an ethnographic eye to see the economic diversity through which accumulation is possible.</span></span><br />
—Anna Lowenhaupt Tsing, <i>The Mushroom at the End of the World: on the-possibility of life in capitalist ruins.</i></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0tag:blogger.com,1999:blog-18630368.post-56708433639813312142018-04-21T12:29:00.000-02:002018-04-21T12:29:03.929-02:0021 and Provigo<div dir="ltr" style="text-align: left;" trbidi="on">
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I have attempted to outline this polemic in a fashion that displays some of my admiration for it. I agree with and feel hailed by much of <i>No Future</i>. Indeed, when I negotiate the ever-increasing sidewalk obstacles produced by oversized baby strollers on parade in the city in which I live, the sheer magnitude of the vehicles that flaunt the incredible mandate of reproduction as world-historical virtue, I could not be more hailed with a statement such as, “Queerness names the side of ‘not fighting for the children,’ the side of outside the consensus by which all politics confirms the value of reproductive futurism.” But as strongly as I reject reproductive futurity, I nonetheless refuse to give up on concepts such as politics, hope, and a future that is not kid stuff.<br /><br />Juan Esteban Munoz, <i>Cruising Utopia</i></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com1tag:blogger.com,1999:blog-18630368.post-48061595462553409232017-03-28T00:59:00.000-02:002017-03-28T00:59:00.167-02:00Month of May<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #cfe2f3;"><span style="background-color: #0c343d;">The issues did not always find the right players for them. Someone full of rage at existing conditions often seeks to join the protest movement around at the time—which since 1970 has often meant an environmental movement—and in some situations will even vent their rage against fellow-campaigners. Ideally, environmentalism needed people with ties in their family and locality, and with a keen sense of responsibility for future generations, who felt bound by certain rules and values and, when appropriate, viewed the state as a positive force for order. But such people are often not prepared for confrontation with the state, or have no time for a new commitment. After 1970, then, it was typically ’68ers who, having failed in their previous objectives, could be mobilized to campaign against environmental scandals: single people without children, for whom homeland, family, standards and laws were deeply suspect. What counted tor them above everything was their spontaneous impulses, and they liked nothing more than travelling around the world. This did not necessarily mean that they ended up doing nothing for environmentalism. The history of the eco-age provides material for success stories as well as tragedies, but also quite a lot of material for comedies.<br /> </span></span><br />
<span style="color: #cfe2f3;"><span style="background-color: #0c343d;">—Joachim Radkau, <i>The Age of Ecology</i></span></span></div>
knowles eddy knowleshttp://www.blogger.com/profile/03363435518531856079noreply@blogger.com0